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mcp_opendaw_create_djembe_ensemble

Generates a layered West African djembe and dunun ensemble with interlocking ostinato patterns, call-and-response structure, and customizable styles like danza or kuku.

Instructions

Create a West African djembe/dunun ensemble — cyclical ostinato with call-and-response.

West African drumming (Mali, Guinea, Senegal) is built on layered cyclical patterns. Three bass drums (dununs) play interlocking ostinato patterns that define the rhythmic foundation. The kenkeni (highest) plays the fastest cycle, the sangban (middle) plays the core pulse, and the dundunba (lowest) plays the slow anchor. A bell (kenken) plays the timeline — the reference pattern all drummers orient to. Two djembes play lead and accompaniment parts: djembe 1 improvises calls and echauffements (heating-up sections), djembe 2 plays a fixed accompaniment (accompagnement) that interlocks with the dununs.

Unlike samba (parade ensemble) or songo (drum kit), West African drumming is cyclical: the accompaniment loops indefinitely while the lead djembe improvises on top. The structure is call-and-response: the lead plays a signal (appel) and the ensemble responds, then the groove continues.

styles (traditional rhythms): "danza" — Malian welcoming rhythm. Kenkeni steady 8ths, sangban pulse on 1+3, dundunba on 2+4. Bell timeline E(3,2,3). Djembe 2 accompagnement: slap-tone-slap-bass. "kuku" — Guinean celebration rhythm. Kenkeni offbeat pattern, sangban syncopated, dundunba sparse. Bell E(7,12). Djembe 2: rolling 16th tone-slaps. "djole" — Sierra Leonean rhythm (originally on sikko drums). Kenkeni 16ths, sangban 3-3-2, dundunba on 1. Bell E(3,2,3). Djembe 2: spaced bass-slap pattern. "doundounba" — The "dance of the strong men" (Guinea). Sangban drives with a dense 16th pattern, dundunba on downbeats, kenkeni sparse. Bell E(3,2,3). Aggressive djembe 2.

bars: Pattern length (4-16, even). style: Rhythm name (danza, kuku, djole, doundounba). velocity: Base velocity (0-1). kenkeni_pitch: Kenkeni (high dunun) MIDI pitch (35 = B0). sangban_pitch: Sangban (mid dunun) MIDI pitch (36 = C1). dundunba_pitch: Dundunba (low dunun) MIDI pitch (38 = D1). djembe1_pitch: Lead djembe MIDI pitch (42 = F#1). djembe2_pitch: Accompaniment djembe MIDI pitch (46 = A#1). bell_pitch: Bell (kenken) timeline MIDI pitch (50 = D2).

Args: bars: Pattern length in bars (4-16, even). style: Rhythm style (danza, kuku, djole, doundounba). velocity: Base velocity 0-1. unit_index: AU index. track_index: Note track index. start_beat: Starting beat position. kenkeni_pitch: Kenkeni MIDI pitch. sangban_pitch: Sangban MIDI pitch. dundunba_pitch: Dundunba MIDI pitch. djembe1_pitch: Lead djembe MIDI pitch. djembe2_pitch: Accompaniment djembe MIDI pitch. bell_pitch: Bell timeline MIDI pitch.

Returns notes created, instrument breakdown, and rhythm info.

Input Schema

TableJSON Schema
NameRequiredDescriptionDefault
barsNo
styleNodanza
velocityNo
bell_pitchNo
start_beatNo
unit_indexNo
track_indexNo
djembe1_pitchNo
djembe2_pitchNo
kenkeni_pitchNo
sangban_pitchNo
dundunba_pitchNo

Output Schema

TableJSON Schema
NameRequiredDescriptionDefault
resultYes
Behavior4/5

Does the description disclose side effects, auth requirements, rate limits, or destructive behavior?

With no annotations provided, the description fully carries the behavioral burden. It discloses that the accompaniment loops indefinitely, the lead improvises, and the structure is call-and-response. However, it does not explicitly mention whether the tool is destructive (overwrites existing data) or safe, but the creative context implies it adds new material.

Agents need to know what a tool does to the world before calling it. Descriptions should go beyond structured annotations to explain consequences.

Conciseness4/5

Is the description appropriately sized, front-loaded, and free of redundancy?

The description is lengthy but well-structured with paragraphs, bullet-pointed style details, and a clear parameter list. It front-loads the overall purpose and structure, then details styles and parameters. A slightly more concise version could improve readability, but given the complexity, it is effective.

Shorter descriptions cost fewer tokens and are easier for agents to parse. Every sentence should earn its place.

Completeness5/5

Given the tool's complexity, does the description cover enough for an agent to succeed on first attempt?

Given the tool's complexity (12 parameters, multiple styles, musical context), the description is complete. It explains the instrument roles, style differences, and return values ('notes created, instrument breakdown, and rhythm info'). The output schema exists, so return value explanation is adequate.

Complex tools with many parameters or behaviors need more documentation. Simple tools need less. This dimension scales expectations accordingly.

Parameters5/5

Does the description clarify parameter syntax, constraints, interactions, or defaults beyond what the schema provides?

Schema description coverage is 0%, but the description compensates by listing all 12 parameters with detailed explanations, including purpose, defaults, and pitch values. It even enumerates the four style options with rhythmic characteristics. This makes the parameters fully understandable.

Input schemas describe structure but not intent. Descriptions should explain non-obvious parameter relationships and valid value ranges.

Purpose5/5

Does the description clearly state what the tool does and how it differs from similar tools?

The description clearly states it creates a West African djembe/dunun ensemble with cyclical ostinato and call-and-response. It uses specific verbs ('create') and resources ('djembe ensemble'), and distinguishes itself from related tools like samba and songo by contrasting the cyclical vs. linear structure.

Agents choose between tools based on descriptions. A clear purpose with a specific verb and resource helps agents select the right tool.

Usage Guidelines5/5

Does the description explain when to use this tool, when not to, or what alternatives exist?

The description explicitly explains when to use this tool (for West African drumming) and contrasts it with samba (parade ensemble) and songo (drum kit), providing clear alternatives. It also describes the intended musical context and structure.

Agents often have multiple tools that could apply. Explicit usage guidance like "use X instead of Y when Z" prevents misuse.

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