*

=j*t,
u.4.
 Introd,uction
In Yowr Own Mwsic
There are as many rhythms in the world as there are
stars in the sky. Every culture has dozens, if not thousands of rhyhms related to dance and
language. To these pulse beats and patterns, each person and musician brings his or her own
sense of timing, breath and imagination. To be human is to embody this rhythmic infinity.

No single book could begin to touch the galaxy of rhythms playing out within and around
us. My intention is to present the signal rhythm patterns, both traditional and newly cre-
ated, through a method I call "Cyclic Verticalism."

This book is for the instrumentalist, composer, percussionist, student and music educator
who aims to expand his or her understanding of rhythm and overall musicianship. It is an
applied guide to the fundamentals of rhythm, presented step-by-step from the simple to
the complex. Please approach it as a source for your own creative endeavors.

For an improviser, form is one of the most difficult elements to master. In order to under-
stand form you must be able to generate phrasing. In order to phrase you must have a grasp
of rhythm. The great improvisers we know - from Bach to Ornette Coleman and beyond -
have been masters of rhythm. This book offers a repository of rhyhms in a method unfet-
tered by style. The aesthetic is open to you, the artist. Please utilize these ideas freely in your
own way, in your own music.

Music is a temporal art, and rhyhm is the world working through time. Thus rhythm is
implicit in every musical gesture. Yet rhythm is often neglected in music lessons partly
because it is difficult to render on the printed page.

In the case of Western "classical" musicians, this learning gap can limit the student to only
being able to read rhythms but not to understand, feel or generate them. In the past few
decades these players have had to perform scores demanding an improvisation, and many
have also tried to extend their virtuosity into "1azz" and "folk" idioms. I consider the train-
ing in this book essential for these arlists, and hope it wil1 provide them with the rhyhm
training that will open the door to phrasing. Without the ability to phrase and to express
one's ideas in time, even the virluoso is creatively limited.

Improvising "jazz" musicians often leam to phrase by relying on chord changes and a "rhythm
section" as a temporal guide, commonly wLtlt32$ar or 72-bar forms. \A/hat happens when the
improviser moves beyond those structures? \A4rether playing in an orchestra or iazz ban.rd, a
musician must be able to generate ideas in real time with a clarity that defines where they are
at every moment. Only then will their sonic ideas be heard in a way that inspires.

For percussionists today, great oppofiunities for first hand study and sharing of rhythm tra-
ditions abound. There are drummers from every paft of the world living in every other part,
sharing and sampling techniques. This makes it an exciting time. But how does one expand
one's rhythm vocabulary and still maintain one's own musical identity? How does one apply
this knowledge to one's own creative evolution? The answer is not only to simply gather and
study rhythms, but also to understand rhythm's underlying structure and foundation.

Harmonically, Westem "iazz" ars.d "classical" aftists have selÊconsciously sought to look at
modal and interwallic materials in new ways, and replace the systems of the past. This book is
an offering to creative musicians who wish to move their rhyhm conception forward. The

!,^,
 Introduction

- : --. tr of C.vclic Verlicalism is deliberately neutral so that an arlist of any aesthetic bent may
_:-- :- to t}-reir own creative process as theywish. Composers and improvisers w.tlo have a
..-:-.:td of the larger pol;.nnetric cycles can begin to move through rhythms with freedom.
, . -,..35-beat.yà1"b".o-esabig"oï)e." Itbecomesasingle"breaûl' throughwhichthe
._j,--_-ït can freely shape ideas, still know where he or she is in time and form, and commu-
-,-
-.:-:: :1ore expressively with other musicians. The larger cycles towards
the end of this book
-' :.'--: ror-1Ls in which
pitch and timbre can be applied in any orchestrated conterl'

A Note on tlte Notation

The Western European system of notating does not
:,. :o represent rhyhm from most other music cultures. One reason is that many music
, ---:-::es hàve designed their rhythms from another conceptual base. Western notation
..:_t-:1ds that one time signature be dominant. In parts of Africa, howevet, several meters
-,---rerfor.med simultaneously without any one of them being dominant. To render that
--_"s,:al phenomenon through the European notation lens would misinterpret
the true
r-,;.--:e oithe music. Notation of any kind seems almost unsuitable when knowledge is
:,.-..e1 on though oral tradition.

-,- European music rhythm is notated in a system we could.call divi-

:jdition, in Western
;-,.-; That is, one whole ,.ot.l, divided into two half notes, four quarter notes, eight eighth
are additive
--.::s and so on. Many Indian, Middle Eastern, and Eastern European rhythms
- -.rlts of twos and threes are combined to generate the rhythm cycles'
_ notation system for this book is as true to the nature of the underlying patterns as any
rte
- :ould devise. It is based upon pulses that are accented or left unheard, to create various
:rtrthm cycles and polymetèrs. Most of the patterns contained herein can be counted and,
:1ore importantlS4 "ielt" in several ways, giving freedom to the individual to find their own
-:el, understanding and musical applications.

Cyclic Verticalisrn
Cyclic Verticalism is a system of thinking about rhyhm
rlrat can be applied to any musical context. "Cyclic" refers to rhyhm cycles. It is an addi-
rir-e concept of rhythm whereby rhythm cells of twos and threes (even and odd) are added
together to build rhyhm cycles of various lengths.

For example, 2 plus 3 yields a 5 beat cycle:

Counted division

Accented.pulses

Total pulses

3 plus 2 plus 2 yields a7 beat cYcle:

Counted division

Accented .pulses

Total .pulses

,,Ver-ticalism" describes the musical element of polyrhythms. This is when two rhythms are
stacked one on top of the other and played simultaneously. A rhythm cell of an even
amount (2 or 4) sounding at the same time as a rhythm cell of an odd amount (3) creates
polyrhyÀms that generate motion in sound. 3 against 2 is the fundamental polyrhythm:

ill
Rsvrr,v
Introduction

3 AGArNsr z (6 rorar- eur-ses)

123456
X X X 3 duplet accents of the .pulse

X X 2 triplet accents of the pulse

Cyclic Verticalism is my attempt to explore some of the possible combinations that arise
from the process of combining these cyclic (horizontal) and vertical (polymetric) elements.
Additionally, some rhythms that I have been exposed to and feel attracted to are included
herein. They are used as inspiration and a stafting point from which I apply the concept of
Cyclic Verticalism. The rhythms move from more simple to more complex.

Every rhythm is made of two elements: something odd and something even. 3 (odd)
and 2 (even) are the fundamental building blocks from which all existing rhythms are
created; from a most simple heartbeat pattern to the most abstract.

The Dogon people of Mali call the even (2) element "Tolo" and ascribe to it the female or
yin energy. "Nya" is odd (3) or male, yang energy. They say: "Every rhyhm has the two parts
often with complex interplay that suggest both a dialogue and union of male and female
principles."

Tke Tltree Aspects of Rlcytlcrn

Rhythm has three manifestations: Ianguage, dance and
mathematics. Language has to do with the relationship of spoken and sung word in a cul-
ture to rhythmic phrasing. An example is how the Yoruba language, which is tonal, is "spo-
ken" on the Iya or talking drum. Less obvious, but just as profound examples exist in the
relationship of the spoken or sung word and instrumental music phraseology in all music.
Language also refers to an actual drum language itself. In North and South Indian drum-
ming, spoken syllables are used to teach the drum language. Every syllable that is spoken
corresponds to a particular drum stroke. Some examples of these are found in this book.

Dance is the other source of rhythm. All drumming has its origins as a sonic manifestation
of physical movement. There is no dance without music or music without dance. They are
two art forms that can only be experienced temporally. Creative and cultural movements
of humans are determinants of rhythmic phraseology. The meters of 9 and 1 1 beats used
in Balkan or Greek music correlate to the steps of the dancers. The abstract sounding drum-
ming that moves against the pulse in Indonesian Jaipong music is the drummer catching
the gestures of the dancer.

Neither the language or dance aspects of rhythm can be notated or codified in a book.
They must be learned through first hand experience.

This book is primarily concerned with the aspect of rhyhm as mathematics. Mathematics
allows the student or artist to look at the rhythm in a way that is transcendent of style or
culture. Looking at pure elements allows the creative person to personalize and transform
them. This is an essence of the creative process. The rhyhms contained herein are presented
as neutral elements that the performer or composer can utilize in whatever way they can
imagine. They are like the bare bones or structure to which any musical language and aes-
thetic can be added. However, I urge all interested artists to also go as deeply as possible
into whatever rhythm languages and dance forms they relate to. Oral tradition and experi-
ence are great educators. Imagination and feeling are indispensable to any creative inquiry
 Introduction

SOUNDS AND NOTATION KEY

H = High pitched sound.
L - Low Pitched sound.
- = A silent marking of a counted pulse'

D|fill = A low round sound as used in Middle Eastern drumming.

lek = A high, sharp sound also used in Middle Eastern drumming.
,-.i = A seéond high sound which lollows Tek'
Itah = The "aîd" beat following Dwm.

Dhrt = North Indian Tabla Bol (drum syllable)

\rt = Tabla BoI
Ditt = Tabla Bol
Titt = Tabla Bol
Ke = Tabla Bol
Ge = Tabla Bo1

The following sounds are used in many hand drums of

Afiican origin'
s - SlaP: sharP high sound'
o = Open; medium resonant sound'
M = Muffled sound.
B - DeeP bass.tottd"
playing technique of several
The notation denotes approximations of sounds made by the
hancl drum traditions.*

Simply reversing the high sounds and the low sounds will change the psychoacoustic
effect and feel of a rhYthm:

L (low)ot Dum going to H (high) or Tek is tension'

H (high) ot Tek going to L (low) or Dum is release'

Displaced, in the context of this book, means to move the

original downbeæ of a pattern
For example' if the varia-
rhe'specified number of pulses later, if not indicatecl otherwise'
original pattern'
don states "displaced by three pulses" that means the downbeat of the
.;çhich had been in the iirst box on the left, has now been moved to start on the third box
variation states "displaced
from the 1eft, and the entire pattem continues from there. If the
but to the left'
b1'three pulses earlier" the pattern is rotated in a similar fashion

- The "traditional" rlrytkns in this book are merely references to the pattem ideas they represent'
wsed.

There is no pretense of ber.ng"autkentic." h is not

my intention to present these pattems in any mwsical'
along with aII the tnaterials in
it*tl or cwltwral conext. ihe extrapoltt'ted' and' simplified patternsToare'
learn more about any nnusic tracli-
ihis book, sùn1tty meant to serue as a' source of aftisti inspimttoy
fiolt'slurgetkeseriousstwdenttoseeleoutateacheroftkattradition'

,rr,
Introdwction

A NOTE ON READING THE NOTATION

\À/hen the last boxes on the far right are closed, this indicates the pattern should be repeat-
ed from the beginning without pd.use.

Examplr, r

12 ù ù ù
X X X X X X
'.,X

X X X X X

\r\4ren the last boxes on the far right are openwith an affow this indicates that the pattern
should be continued into the next group of boxes below without pause. Continue the pat-
tern to the last closed boxes on the far right. Then repeat the pattern from the beginning
withowt pause.

Exannple z
ù
X
X
B

10 11

Grey boxes do not necessarily imply an accent but serve as stmctural marks in complex
patterns.

For countingand feel purposes meters are often written as half-time counts. For example,
a meter in 9 is written as 4 112,7 as 3 112, 5 as 2 Il2, and so on.

Examele 3

123 eJ

X X X X X X

Triplets are counted "One and ah, two and ah" (notated 7 Ù a,2 et a eTc.)
Q3,tarlruplekare counted "One e and ah,two e and ah" (notated T e Ù a,
2 e et a etc.)

Exannele 4
lera er ù
X X X X

X X X
ù ù ù
 Swggestions for Use

SUGGEST'ONS FOR USE:

RHYTH M TRAINING FOR PERCUSS'ON'STS
AND Att'NSTR UM ENTATISTS

Following are exercises which are offered as a step by step aid to learning and mastering
the material in this book. Examples of a few rhyhms demonstrate the process; however,
the exercises below can be applied to learn and master any of the rhythms in this book.
Please remember that the rhythms are to be played as repeating patterns:
Repeat each pattern nithout pause at the end of the boxes.

Feel free to experiment with different tempos and with different sounds.

FIRST EXERCISE

When there are 2 rows of boxes. one row can be the left hand and the other row can be
right hand:

Exannpre t I Fundamental polyrhythm: 3 against 2 (6 pulses) - CD1, track 2

Right hand

Left hand

Start slowly. When you have both hands playing the pattern comfortably:
Stop the lefihand (in 2) only - without stopping or dropping abeat in the right hand.
Continue to play the right hand (in 3) alone for a few cycles.
Bring the left hand back in on the dornrnbeat (beat'one' where both hands come together)
içithout stopping or dropping a beat.
Continue playing for a few cycles. Do not speed up.
\orv stop Tlne right hand (in 3) without stopping or dropping a beat in the left hand. (This
night be a bit more challenging - keep trying and focus on the feel of the left hand before
-.'ou stop the right hand)
Plav the left hand (in 2) alone for a few cycles.
Sring the right hand back in on the downbeat (beat'one' where both hands come together)
i';ithout stopping or dropping abeat.

lrerr, without stopping:

aiffinge hands taitkout dropping a beat.
lrorv the left hand is playing the 3 and the right hand is playing tlne 2.

Exnmple z

Right hand

Left hand

,r^, *"rrY,ll
Sugestions Jor Use

When you have both hands playing the pattern comfortably:

Stop the righthand (in 2) only - without stopping or dropping a beat in the left hand.
Continue to play the left hand (in 3) alone for a few cycles.
Bring the right hand back in on the dornmbeat (beat'one' where both hands come together)
without stopping or dropping a beat.
Continue playing for a few cycles. Do not speed up.
Now stop tLle left hand (in 3) without stopping or dropping a beat in the right hand. (This
might be a bit more challenging - keep trying and focus on the feel of the right hand before
you stop the left hand)
Play the right hand (in 2) alone for a few cycles.
Bring the left hand back in on the downbeat (beat'one' where both hands come together)
without stopping or dropping a beat.

Next, without stopping:

Change hand.s without dropping a beat.
Now you are back where you stafted: the right hand is playing the 3 and the left hand is
playing rlne 2.

Go through this entire process step by stepuntil you can do it smoothly and effortlessly,
each hand playing consistently without rushing or dropping any beats.

Stopping and starting each hand like this is essential to feeling botk sid.es of the polyrhythm.

Playing slowly is actually more challenging and more helpful.

This exerci5e"introduces the musician to feeling and understanding both 'sides' of the basic
polyrhythm.
It is also basic independence training for percussionists.

SECOND EXERCISE

It is impoftant to be able to switch from one side of the polyrhythm to another. In this
example, a 15 beat cycle is created by playing 3 sets of 5 in the duplet pulse (counted and
accented as2l/Z) against 5 sets of triplets:

Exnmpre 3I 75 beat cycle: three sets of 5 (2 1/z) against 5 triplets - CD2, track 38

12ù1 2er1 2ù
.,.,X X X X X X X X Right hand

X X X X X Left hand

12345
Start slowly. When you have both hands playing the pattern comfortably:
Without stopping, at the beginning of the cycle (beat one, where both hands come
together), switch the left hand from playing the 5 triplets to playing the accents of the
2 1lz (example a).

Exnmpre 4I 15 beat cycle: three sets of 5 (2 t /2) with a,ccents on first beat of each 2 1/2
12ù1 2ù1 2A
,,:tXll X X X X X X, X X Right hand

X X X Left hand

yJl:*",*,
 Sugestions for Use

:,::prng the right hand the same, without stopping or dropping abeat, the left hand is now
:-:',-irrg the first beat of each of 3 sets of 2 112.
',','r:en
,vou have both hands playing the pattern comfortably:
stopping, at the beginning of the cycle (beat 'one' where both hands come
"-rrhout
. -:ether), switch the left hand back to playing the 5 triplets (example 3).

l'-:cpr 51,vl16hing the left hand back and forth (between example 3 and example 4) until it is
: - lfortable and you can feel and count both sides.

tryr the same thing where the left hand plays the 2 112 (the top line in example 3) and
1, ---,'r
-:. nght hand switches between the 5 triplets and accenting the 2 112.
- s:rg the process of this exercise will help you master any of the polyrhythmic cycles in
-:,:,. book.

THIRD EXERCISE

- irnporlant to learn these rhythms in your body, not just your mind. Sometimes it can
- :s
. ' ,:fficult for the hands to play the rhythms we might understand, especially if one is not
:,:lardy a percussionist. Walking in place (standing or even sitting) and using the voice is
: =rÊar method to help anyone get a grasp of playing the rhythms in this book.
- :r-< 2 i
beat cycle is created by playing 3 sets of 7 in the duple pulse (counted and
.---:rrred as 3112) against 7 sets of triplets.

Lr.qmprr, S | 21 beat cycle (3 1/2 + J /z * Z /z) against 7 triplets - CD2, track 44

1 1

Voice

Walk in .place

''-::::r you repeat this pattern you will staft on your left foot second time around. It will
---.; I c)'cles of this 21 beat pattem for your right foot to come out on the downbeat of the
:'-:le.
-.,-.-:r slow.
', if sitting, tap your feet. Use a metronome at first if this helps you get started. Once
-'--k or,
' * are confident, turn the metronome off.
,:-; the tempo.
-'i: an\r vocal sounds you like. Sing.
---- following2lbeat cycle is createdbyplayrng 5 + 7 + 9 inthe duple pulse (counted and
,::-lted as 2 112,3 1/2,4 1lZ) against Z sets of triplets.

ix"qmpre 6 | Another2'l beatcycle(21/z+ 31/2+41/2) againstTtriplets- CD2,track47

Voice

Walh in ltlace

-, -rs ûme starl walking or tapping your feet with the left foot.
-,',-:r:n
,vou repeat this pattern you will stalt on your right foot second time around. It will
-.: 2 cycles of this 2I beat pattern for your left foot to come out on the downbeat of the

IX
Purc Rt-tvrnu
Swgestions Jor Use

SUGGESIIONS FOR USE;

BEGINNING AND INTERM EDIATE INSTRUMENTAT'STS
Practice whatever it is you are learning in the context of rhythm. Use a metronome or tap
your foot in one rhythm while you play in another. Staft slowly.

Exampre t I Basic 2 against 3 pattern - CD'\, track 2

123 456
X X Two tri.plets

X X X Three duplets

Exencrse r | 2 against j applied to the minor scale

Instrument

Exnmple z I Basic 3 against 2 ,pattern

1 23
X X X Three duplets

X X Two triplets

12
Exencrse 2 | 3 against 2 ap,plied to arpeggios in 4ths moving in diminished intervals
Instrument

L^,
 Swgestions for Use

! -,ernate notation

- strument
r-3

c +-3 13l3l
I

',I Êtronome

Êxarapre,3 I 75 beat cycle: three sets of 5 (2 1/2) against five triplets - CD2, track 38

erl2Qr
2 1/z

5 triplets

Exencrse g I Three sets of 5 çZ /z) against five triplets with a .pentatonic ostinato .phrased as the
t

combination of the two together

- 115

-l ? t) t)

-t5

Play the ostinato melody while keeping time with foot or metronome. First tap the five
riplets (bottom line) then switch without pause to tapping the middle line (three sets of
2 112) while keeping the melody.

XI
Purc Ruvtuu
Swggesfions for use

SUGGESTIONS FOR USE:

CO MP OSERS AND ADYAN CED'NSTR UM ENTAT'STS

Apply the rhythms in this book to whatever melodic and harmonic materials you are prac-
ticing or using in your compositions. Experiment with a variety of tempos. Below are a few
examples.

t | 15 beat cycle: three sets of 5 (2 1/2) against five triplets - CD2, track 38
Exarrnpre

128r12Qr12Qr
X X X X X X X

X X X X X

12345
ExeRctse t I Symmetric hexatonic scale applied to the 15 beat cycle

OJ
n{6
rf 8l. t I t I I I /
Metronome
n16

rl ar'l
t- I
l-+l-

F>
tt
u f'rrllll/ f'
.

l' t I I r)
tt/
I I tt

tt..'

The next note in the pattern would be E. continuing the pattern from E is the same hexa-
tonic scale as the otr" rtuttir-rg on C since the symmetric hexatonic scale can only be ftans-
posed four times. Each scalelhus has three tonics: C - E - G#, C$ - F -4, D - Ff -Afl and
Dfi-G-B.

ExnmprezI lsbeatpattern:7plus11 (3t/z*51/z)againstsixtri'plets -CD2,track'12

123Ù1 2345Qr
X X X X ,,X.. X X X X X

X X X X X X
23456
 Swgestions for Use

Exenctse z I Double diminished .pattern a.p.plied to the 'tB beat pattern çS /z + S /z against six
t 1

tri.plets)

,lescending ascending

-::e double diminished or octatonic scale is made by combining two diminished 7th chords
= :alf step apart. It has an alternating half step, whole step configuration. It is transposable
-iee times. Starting on Db as well as on D will yield the two other double diminished
.:.eles. Starling on Eb will yield the same scale as the one starting on C.

Exa,rapre3 | 21 beatcycle:7+7+7(3t/z+ j1/z+31/Z)againstseventriplets -CD2,track44

ù
x X X X :1:',,,\:',':' X X X X X X X

X X X X X X X

,:re following nine tone row is made by combining two hexatonic scales ll2 step apart
ltm one another. Like the hexatonic scale, it is also only transposable four times. The inter-
;:llic pattern is whole step - half step - half step then repeated, whole, half, half, etc.
Exe Rcrsr 3| Nine tone row applied to the 2'l beat cycle

/r>

xill
Puar Ravran
Sugestions for Use

Exnmele 4 I 2'l beat cycle: 5 + 7 + 9 (2 t /2 + 3 /2 + 41 /2) against seven triplets - CD2, track 47
1

8, 1 23 erl 234 QJ

.ii.X... X X lXl
X X X l::il:xl
X X X X

X X X X X X X

Exenctse 4| Triple diminished patternx a.pplied to the 2'l beat cycle against seven triplets.

a F,e r bù 4-' ê ---/ è. ----/ ê ----/ ô'

n2l
u ù || || l)
lt | rI II r)
/ || || || || r)/ / / /
Metronome
n2l

a I tl- e -tùe -_- / -=-.-- -'--/ -

n>
u
- || |1 t) / || |I || || r)/
/ || || || t) I t) | I | | | I | | /
n

Use the triplets in the bottom line as a metronome count. In bar 2 the last C is held for 7
counts of the triplets. In bar 3 the pattern begins again this time stafting on Cfl: donm a
fourth, up a half step, up a half step. Go through all twelve keys. The pattern following bar
6 will start on Df .

- Tri le dincircished concept giuen to the author by Yusef Lateef ror a complete explanation please see
Dr. Lateef's "Repository of Musical Scales and Patterqs" published by Fana Mwsic and dktribwted by
aduance mwsic.

XIV
Purc Ruvrnu
 Sugestions for Use

SUGGESTIONS FOR CTASSROOM USE

l-- -:-:n can be taught to children of any age group. Start slow and use body movements
- ,, '-,:ng in place or in a circle. Students can clap or sing some of the seemingly complex
*'-,-:--:ni in this book if they are walking on the "ortTer" side (often triplets) of the rhythm.
l":---; -":rr also pat the patterns on their knees.

;'::r:.s can be assigned to the'x'in the boxes, with vowel sounds such as: ooh, ee, aak,
,i,",;- l-Iusical instruments can be used to make the sound where there is an'x' in the box.

-:i",:: -,';:th the fundamental polyrhythm of 3 against 2 (CDL, track 2):

1,23456

1,2

ixe m.crse r I Divide the class into two groups. Have each group clap the accented ,pulses. Sto.p
and start, vary tempo and dynamics

3456
Group 1

Group 2

l,l:",-ement can be added whereby the children can clap or sing in 3 and walk in 2:
'23
Handclaps

Walhing

---.'içel
sounds can now be added to the movement and handclaps:

G;-oup 1

XV
Puar Ruvtuu
Swgestions for use

Exencrse z I Using vowel sounds with a 4 against 3 .pattern (aay on G, ee on D) - CD1, track '16
1ùa2era3?ra4era
aay aay aay aay

ee ee ee

leera2eQta3eQta

aaJ aay aay aay

ExencrsE gI lntermediate Classroom A.pplication

12/g pattern - CD2, track '16

123456789101112
X X X X X X X Ewe bell .pattern

X X X X X X 6 duplets

X X X X 4 triplets

X X X 3 quadruplets

X X 2 sextu.plets

Start by teaching everyone the Ewe (pronounced "eh-vey") bell pattern. Then divide the
class into 2 groups. While one group claps the Ewe bell pattern, have the other group clap
the 6 duplets. When they are confident with that, have them switch to the 4 triplets then
to 3 quadruplets and then to 2 sextuplets, all while the first group is staying constant on
the bell pattern. When the students become more confident split them into more groups
until all 5 parts are being played simultaneously. Use percussion instruments. Have them
walk in place on the 2 sextuplets while playing percussion on the other pafts. Start very
slow. Try different tempos. Try stopping and starting on cue.

Exencrse 4 | Advanced Classroom Application

115 beat cycle: Five triplets against three sets of 5 (2 t

/2) - CD2, track 38

12345
X X X X X

',,X X x X .,f, X
12er1 2ù1 2ù
XVI
Pup.t Ruvruu
 Sugestions for use

Divide the class into two groups. Have one group sing and clap the five groups of 3. Have
the other group sing the held notes of three groups of 5. Add percussion instruments. Try
different tempos. Try stopping and starting on cue.

Pitches applied to the 15 beat cycle:

D.: G E D G E D G E D G E D G A

D (held) G (held) A (held)

t a a a a -
aay ee ah aay ee ah aay ee ah aay ee ah aay ee oh

1 2 3

--r-/

aay ee oh

Singing and handclaps together (here the "x"-noteheads denote half notes):

Group'1

XVII
Punr Rnvrnu
 Pure Rhythrn

Yow rnust respect tke silence to respect tke sownd.

Don Cherry

| [Y:'1",,".
 Three & Two
Fwndarnental Cycles
2 PLUS 3 3 PLUS 2

12 1 2 3 1 2
I
J 12
X X X X

Fwn d arm e nt al P oly rky tkm

3 AGATNST 2
(3 duplets against 2 triplets) counted:
lrace z
123 12
X X X X X X

X X X X

'lst Variation: ^-À,,

2"- VAqAUOq:
Tracks
123 123 3€r4

X X X X X X

X X X X X X X

3'd Variation: 4th Variation:

Tracks

123456 546

X X X X H L H

X X X L H L H

Starting one ,pulse earlier: To.p row displaced by three .pulses:

Tracks
748
L H H H H L

L H L H L H L H
 Tkree E Two

QZraq abA Gno*a/Morocco)

Track 9
X X

X X

'lst Variation: 2nd Variation:

lrdcl?s
10&11 123
X X H H

X X L L

3'd Variation:
Track 12

L L

H H

Grid of five variations made by displacing the downbeat by one pulse:

lrack 1J

Count: 123456
Original H L H L
One pulse
H L H L
displaced

Two L H L H

Three H L H L

Four L H L H

Five L H L H

Muswbajulo (ruandtngo - tke Gambia)

Track 14

L H H Kutiriba drum

H L L Kutirindingo drum
 Three & Two

Abalewa type Rlcytkwz Guba)

'10 11 12
Track 1 5
H L H L H L

H L H L

Variation:

12345678 10 11 12

L H L H L H

L H L H

Variation with bell qattern:

X X X X X X X X X

L H L H L H

L H L H
 Four & Three
Fwn d arn e nt aI PoIy rky thrn

4 AGArNsr g (4 triplets against 3 quadruplets)

123456789 10 11 12
I racQ lo X
X X X

X X X

Another way to count:

12
X X X X

X X X

Counted from the four tri'plets:

2er
X X X X

X X X

Counted from the three quadruplets:

X X X X

X X X
4
I e)

1't Variation:
Track 1 7

L L L L

H H H
 Four & Three

2nd Variation:

H H H H

L L L

3'd Variation:

H H H H

L L L L L L

4th Variation:

1er eJ ù ù Track 1 I
H H H H H H H H

L L L

-+1" , ,
5'" Va.nauon:

1ù 2Zr ù 8J

H H H H H H H H

L L L L L L

6th Variation:
Tracle 19
1

H L H L H L H L

H H H

7th Variation:

H L H L H L H L

H H H H H H

1e

Bth Variation:

H L H L H L H L

H H H H H H H H H

Purc Rnvrnu
tour ts l nfee

9th Variation:

L L L L

L H L H L H

Variation of two cycles:

1 2 3 4 1 Z 3 4

L L L L L L L L

L H H L H L H H L H L H H L H
a 3
1 2 J 1 2

2nd Variation of two cycles:

1 2 3 4 1 2 3 4

L L L L L L L L

L H H L H H L H L H H L H L H H

23 1 2 5

3rd Variation of two cycles:

1 2 3 4 1 2 3 4

L L L L L L L L

L H L H H L H H L H H L H H L H

1 2 J 1 2 3
 Fiae, Ten and, Twenty
Beat Cycles
Catwrhakcl, necitala of Skarngadeua (India) ,{&.
r'7
Countedot2l/z:
;àn I
Track 20
j2345 12ù
X X X X X X

Pajdwstrtko @otkon) and atso Cn,ccari @ecitala)

12345
X X

Another way to count: Counted backwards (3 + 2):

12 123 123 12
X X X X

Kankala Viskarnd, Decitala of skarngadeua (India)

12345
X X X

Berber (Morocco)
Tracle 21
12345
Tek Dum Tek Tek Dum

For two hands: Variation:

H H H H H H

L L L L L

,r^, *nrr"l I
 Fiue, Ten E Twenty Beat Cycles

B erb erfl aj o wle a (M oro cco )

4ù5
Track 22 Dum
Tek Tek Dum Tek

Variation:

1Qr2er3 4er5
teR Ke Tek Ke Dum Tek Dum

Howwafd, (Morocco)
Tracle 23
123 4er5
Tek Dum Tek Dum

Variation:

12 4Qr5
Dum Tek Dum Tek

Hamackd, (Morocco)
Tracle 24

L H H

Against five du.plets:

12ù ù 8r5
L H H L H H

X X X X X
4

Another variation:

12ù ù ù 8r

L H H L H H

X X X X X
 Fiae, Ten & Twenty Beat Cycles

Grid of five variations made by dis,placing the downbeat by one pulse:

Count: 12345
Original L H H

One ,pulse L H H

Two H L H

Three H H L

Four H H L

Four (bottom line) variation:

Track 26

L L H

Co^nerNnrtoNts

Original and one.pulse shift One,pulse and two pulses shift

(1't and 2na lines):. (2nd and 3'a lines):

L L H H H H L L H H

Two ,pulses and three pulses shift Thr.ee .pulses and .pulses shift
four
(3'd and 4th |ines): (4th and 5tn lines):

H H L L H H H H L L

Harnacka
Track 27

X X X

Variation of the same .pattern Hamacha and variation together:

displaced by one .pulse:

12345 12345
X X X X X X

X X X

,ro, I
 Fiue, Ten E TwentY Beat CYcles

2nd Variation: 3'd Variation:

123 123
H H L L L
H

L L H H H
L

Variation showingthe two implied downbeats:

12345
H H

H L, H

The same two patterns counted from "the other side:"

1234s
Track 28
X X X Four pulses disPlaced

X X X Original

2nd Variation: 3rd Variation:

123 123
H H L L L
H

L L H H H
L

Variation showing the two implied downbeats:

12345
H H L,
H H

tracK zv
Qr1

12
Counted in five:

QJ er

X X X X X X

X X X X X
 Fiue, Ten & Twenty Beat Cycles

With one.pulse displaced earlier:

1er2Qr3 eJ

X X X X X X

X X X X X

With two pulses displaced earlier:

12er3e, QJ

X X X X X X

X X X X X

',,, r,,

With three pulses displaced earlier:

.ræ'1'
18123 eJ 8J
Track 30
X X X X X X

X X X X X

With four pulses displaced earlier:

1QrzQr3ù
X X X X X X

X X X X X

Jkaptal (Nortk Indian) 2 + 3 + 2 + 3

ITACR J1

12 1 2 3 12 123
Din Na Din Din Na Tin Na Din Din Na

Backwards(3+z+3+2):

123 12 123 12
Na Din Din Na Tin Na Din Din Na Din

11
 Fiae, Ten & Twenty Beat Cycles

Kirti (Decital of Shamgadeua)

910
X X X X X

Againstfive duplets:

1 2 3 4 5 1 2 J 4 5

X X X X X

X X X X X

Kanleala Kkanda @ecital of skarngadeua)

910
X X X X

'lst Variation:

123 910
L L H H

2nd Variation:

1ù2 4

Dum Dum Dum Tek

^"À,,
VAqAUOq:
'',^
1Qr2 4

ICR Ka Dum Tek

Sarua'i Thaqil (Mid,d,te East, rufieey) l

1TACK JJ
910
Dum Tek Dum Dum Tek
 Fiue, Ten & Twenty Beat Cycles

Aqsaq Sama'i ftwileey)

910
Track 34
Dum Tek Ka Dum Tek Tek

Variation:

12 910
Tek Dum Dum Tek Dum Dum

Ballean,
lra(R t5

Misra lati Jampa TaIa 6outk Ind.ia) (7 + r + 2)

trace 5ô

4?r5

Variation:

1 4er5
L H L L

2'd Variation:

12ù 4ù
L L H H L

,rr,
 Fiue, Ten & Twenty Beat Cycles

Twenty Beat Pattern

9 plus 't1 çl t /z plus s 1/z)
lracR /
5
3487 1 ù
X X X X Xl X X X X X

With ten duplets:

23 er1 ù
xl X X X X Xl X X X X X

X X X X X X X X X X
6 10

W ith fiv e q uadr u.p I ets :

Track 38
234 er1 EJ

x, X X X X X X X X X X

X X X X X

Variation:

23

Variation with a Samba type feel:

Track 39
4ù1
H H H
Ll H H H H H H H

L L L L L L L
L L L

Twenty Beat Pattern

11 plus9(5t/z+41/2)
Track 40
234 Q, 1

x X X X X X Xl X X X X
 Fiae, Ten & Twenty Beat Qtcles

Variation with five quadru,plets:

34s

7 .plus 13 (3 1/z plus 6 1/z) against a pulse of five quadru.plets:

3ù 1234
Track 41

Variation:

23Qr1 QJ

H L L L H L L L L L L

HH H H H H H H H H

Sarna'i Tkaqil
.played twice against e 2/t triplets:
Track 42

QJ

played once against 6 2/ j tri.plets:

IJ
Pup.t Rnvtuu
 Fiue, Ten & Twenty Beat Cycles

'ffi lhaptal
ffiï
Track 43
Jhaptal played once against 6 2/j triplets:

Din Na Din Din Na Tin Na Din Din Na

X X X X X X X
ù

Tehai pattern played against Jhaptal played twice (this .pattern is not re.peated and ends
on beat 1):

Tehai .pattern played against Jha.ptal once:

5 against 4 cownted in 5
ù
X X X X X

X X X X
 Seaen A Fourteen
Beat Cycles
TrityA Decitala of Sharngadeua (India)

Track 45
X X X

1st Variation: 2nd Variation:

123 123
X X X X X X X X

Countedot3l/z:
12 ù
X X X X

Rwclt enicA Batkan) Track 46

12 12 123
X X X

'l'l Variation: 2nd Variation:

L H H H L L

3'd Variation: 4th Variation:

H L H L H L

17
Puat Rnvtgu
 Seaen & Fourteen Beat Cltcles

-+h,, 6th Variation:

5"',VanaUon:

L L H H H L

Rucn eH lca co unted b ackwards :

Track 47
123 12 12
X X X

Ctrtetaorno @alkan)

123 12 12
X X X

CAtswtald, pecttala of Sharngadeaa (India)

Track 48

X X X X

Countedot3l/z:
12
X X X X

'lst Variation: 2nd Variation:

H L L L L H H H

3rd Variation: 4tn Variation:

L H L H H L H L
 Seuen & Fout"teen Beat Cycles

Lesnoto @atlean)

123 12 12
X X X X

'lst Variation: 2'd Variation:

L L H H H H L L

Rwpak Tal ê + 2 + 2) (North Indian) Track 50

123 12 12
Tin Tin Na Din Na Din Na

Backwards:

12 12 123
Na Din Na Din Na Tin Tin

Berber (Morocco)
Track 51

12345
Dum Dum Tek Dum Tek

Berber (Morocco)
Track 52

12345
Tek Tek Dum Tek Dum

'lst Variation:

Tek Ka teR Dum Ka Tek Dum

19
Puxt Ruvratut
 Seuen & Fourteen Beat Cycles

2nd Variation:

12 6

Dum lek Dum Tek Tek

3rd Variation:

12
Dum Tek Dum Tek Ka Tek Ka

Berber (Morocco)
lracR 53

234567
Dum Tek Dum Tek

Displaced by one pulse: Displaced by two .pulses:

1234s67 123456
Tek Dum Tek Dum Tek Dum Tek Dum

Variation:

1234567
Tek Dum Tek Dum

Hand, Claps @erber/Morocco)

lracR 54

34567
X X X X

Dis,placed by one ,pulse:

1234567
X X X X
I Seuen €t Fourteen Beat Cltcles

Combined:

Count: 123
Original X X X X tracQ 55

One pulse
displaced
X X X X

'lst Variation: 2nd Variation:

Track 56
123 4567 1234567
H H H H L L L L

L L L L H H H H

Variation showing the two im.plied downbeats:

lracK 5 /
1234567
,,],L,,,' H H H

H L H H

The same two patterns counted from the "other" side:

tracq 56
Count: 1234567
Six pulses
dts.placed
X X X X

Original X X X X

'lst Variation: 2'd Variation:

123 567 1234567

H H H H L L L L

L L L L H H H H

Variation showing the two implied downbeats:

1234567
H H H L

L H H H

21
Punr Rnvtuu
 Seaen E Fourteen Beat Cycles

Dawr Hindi or Nea,ln Nokhat (Mid.dte East)

1234567
Track 59
Dum Tek Ka Dum Tek

Variation:

12
Dum Tek Ka Dum Dum

Dis.placed by six .pulses: Displaced by two .pulses:

12345 12345
Tek Ka Dum Tek Dum Tek Dum Tek Ka Dum

Fiae plws Nine

Z 1/2 plus 4 1/2 against seven du.plets:
Track 60
12ù1 ù
i X X .:txil X X X X

, X X X X X X

First Variation:

L L L L L L L

H, L L L L L L

Second Variation:

L H H L H L H H
:t:tuit::::t:::::t

ll:rlrl:::li.
L1 H H L H L H
I
 Seuen & Fourteen Beat Cttcles

Variation:

1 eJ

X X X X X X X X

X X X X X X X

Z 1/2 plus 4 1/2 against Rupak Tal:

12QtI ù
',X X X X X X X X

Tinl Tin Na Din Na Din Na

1 2 3 1 2 1 2

Against Rupak Tal played twrce:

12ù1 ù
Track 61
,,X X X X X X X X

I:în Tin Na Din Na' Din Na Tin Tin Na Din Na Din Na

123 12 12 tzJ I
12 12

Rupak Tal playedtwice against a count of seven:

1234
X X X X X X X

Tin Tin Na Din Na Din Na Tin Tin Na Din Na Din Na

123 12 12 123 12 12

Nine plws Fiue

+ 1/2.plus 2 1/2 against seven duplets:
Track 62
ù 8J

.X X X X X X X X

X X X X X X X

12
Variation:

.lH L L L L H L L

,.,,H.
L L L L H L

Or^, I
 Seuen E Fowrteen Beat Qtcles

Seaen plws Seuen

3 /2 plus 3
1 1
/2 against seven duplets:
Track 63
EJ ù
X X X X X X
:

X X X X X X X

Lesnoto (Balkan, page 19) .played twice against seven duplets:

12345671234
t::
X X X X X X
-l

X X X X X X X

14 Beat Cycle: Dawr Rawan Mawlawi (waate East)

Track 64

1 2 3 4 5 6 7 8 9 1011 12 13 14

Tek teR Dum Dum Dum Tek leR

Dum

9 10 11 12 ',13 14

14 Beat Cycle: Mwkaiiar Arabi (Middte East)

I racrc o5

4 5 6 7 8 9 10 11 12 13 14
 Seaen €y Fourteen Beat Cycles

Nine plws Fiue

9 plus 5 ç+ t
/z plus 2 1/21 played three times against fourteen tri.plets:

Variation with triplets phrased 4 + 4 + 4 + 2:

25
Puee Rnvrnu
 '[Jniuersal Mother
Rhythrn"
This pattern can be felt in both four and in three when played
with the right
,'roui.d,, feel. It is found throughout the world in various forms, interpretations
and tempos:

t uniu ers al tWother RhYtlorn

f.rl (Tkis ùytkm cannot be notated becawse tke feel is in between a
triplet and
Track 67 qwadlwplet.)

Second Line (New orleans)

I racR 06

Kekarwa Tal North Indian)

lzJ a
123 12
Dha Ge Na Tin Na Ke Din Na

X X X

Debki &ebanon)
 Uniu ersal Mother Rhythm

Counted in 8:
'ào
123 7
X X X Track 69

X X

Pattern re.peated three times against 4 sextuplets:

s 6 7 Bl1 2 3 4 5

Rhytkrnic Modwlation: a feel to 5 feel Track 70

X X Countin2ftfeel)

X X Basic pattern
'.X

,'X'l X X Same .pattern felt in 5

X X Accents in 5

(This modulation is more about feel than numbers. The "round" quality of the pattern
allows it to be felt in both 4 and 5.)

Cwban "Claue" or "Keystone" Rhythrn: Track 71

X X X X X

Same rhythm against four counted in 4:

a2 eJ 4

X X X X X

X X X X

27
Puar Ravrau
Uniuercal Mother Rhythm

Rel ated Yo r ub a (Ap al a) p atter n:

123
X X X X X X X

Same rhythm against four counted in 4:

a2QI ù
X X X X X X X

X X X X

Same rhythm in a tri.plet feel (see Ewe pattern on .page 43 in "Twelve Beat Cycles"):

1a28ra3Ù4a
X X X X X X X

X X X X
Itine & Eighteen Beat
(-qrrl
\-! ec
Ya,/\,
ta./

Gajalila @ecital of sharngadeua - India)

also D elt etorlea @attean)

1234567
X X X X

Another way to count:

12 12 12 À^a
IZJ

X X X X

Variation:

12 12 12 123
X X X X X

'l
Counted in 4 /->.

1 2 e)

X X X X X

Against three triplets:

12 eJ

X X X X X

X X X

29
Pune Rcvrr,r,
Nine E Eighteen Beat Cycles

Variation:

12
X X X X X

X X X X X X
ù

Vari ati on with syllables: 2nd Variation:

Dum Tek I et? Tek ICR Dum Tek Tek ICR Tek

L H H L L H H H H

3''d Variation: 4th Variation:

Dum Tek Tek Tek Tek Dum Dum Dum

H L H L H L H H H H H H

Variation with one pulse dis'placed:

1ù28r3ù
Dum Tek Dum Tek

1234
With three tri.plets:
1er2Qr
Dum Tek Dum Tek

X X X

With two ,pulses dis'placed and three tri.plets:

1234
Dum Tek Dum Tek

X X X
1

'lst Variation: 2nd Variation:

2ù3 1Qr2
Dum Dum Tek Dum Tek Dum Dum Tek Dum Tek

X X X X X X

1
 Nine E Eighteen Beat Cycles

With two pulses displaced and added downbeat:

Dum Dum Tek Dum Tek

X X X

'lst Variation:

Dum Tek Dum Tek leR Dum Tek Dum Tek Ka

H L H L H L H L H L H L

3'd Variation: 4th Variation:

Dum Tek Dum Tek Ka Tek teR Dum Tek Dum

H L H L H L H L H L H L

-+L.,
5'," Vanatton: 6th Variation:

Tek Dum Tek Dum Dum Tek Tek Tek Tek

L L H H H H L L H H H H

7th Variation:

Dum Tek Tek Tek Tek

H L H L H L

Agtr Aqsaq (Middle East)

Track 4

Dum Tek Ka Dum Tek Tek

Variation:
tracQ 5
12345
Dum Tek Dum Tek Dum

Punr Rnvrnu
Nine E Eighteen Beat CYcles

Agir Aqsaq backwards:

1234s
Tek teR Dum Mah Tek Dum

Grid of nine variations made by moving the second beat to the left by one pulse thus
making it the new downbeat:

Count: 12345
Original Dum Tek Ka Dum Tek Tek

One pulse Tek Ka Dum Tek Tek Dum

Two Tek Ka Dum Tek Tek Dum

Three Ka Dum teR Tek Dum Tek

Four Dum Tek Tek Dum Tek Ka

Five Tek Tek Dum Tek Ka Dum

5ix Tek Tek Dum I er? Ka Dum

Seven Tek Dum Tek Ka Dum Tek

Eight lek Dum Tek Ka Dum Tek

F iv e p I ay ed b acLzw ards :

1234
Dum Tek Ka Dum Tek Tek

Meuhm Bamileke - Cameroon)

56789
 l{ine & Eighteen Beat Cycles

Counted another way:

Variation:

1 2 3 4 a 1ù2arQr4
X X X X X X X X X

X X X X X X X X X X X X
ù ?J 8r el ù 8J

Kotedjuga BeIl Pattern @amana/Malinke - Mali/Gwinea)

X X X X X

Counted another way:

12 ù
X X X X X

Kotedjuga bell combined with other patterns:

23456789 123456789
X X X X X X X X X X Bell pattern

I
H H L L H H \nnohn
--" ô--'
L L

X X X X X X X X X X X X 2nd bell

L L H L L H L L H Kenheni

*r,
Nine & Eighteen Beat CYcles

MODULATION OF PULSE

4 1/2 du.plets against 3 triPlets:

X X X X X

X X X

4 1/2 against 3 triplets with the triplets modulating to quadruplets:

X X X X X 4'l /t duolets

:{ X 3 triplets

g ù 4
t'.,2., e, a J e a d 3 quadruPlets

and adding Ewe bell

4 /2 against 3 triplets with the triplets modulating to quadru'plets
1

pattern (page 43):

X X X X X 4'l /t duolets

X ,X 3 triplets

I et o 2 QJ a 3,' ù a 3 quadruplets

X X X X X X X Lwe bell

and adding Ewe bell

4 /2 against 3 tri,ptets with the triplets modulating to quadruplets
1

gattern moving against 4 triPlets:

X X X X X 4 /Z duplets
1

X. X 3 triplets

1J.,1 e QJ d 21" QJ 4 5 EJ a 3 quadruPlets

L H H H H H H Ewe Dell

X X X X 4 tri.plets
i
Nine & Eighteen Beat Cycles

Non-metric (feel) rhythmic modulation from 3 sets of tri.plets (nine beat cycle) to 3 sets
of quintuplets (fifteen beat cycle). The L (low) to H (high) shifts feel slightly to accommo-
date the metric shift from three to five:
Track I

1 2 3 Count

L'r H, L H L H ? tr;hlot'<

L Fll L H L H 3 quintuplets

Adding accents on the tri,plets in Nine:

Count

Triplets accented

3 triplets

3 quintuplets

Adding accents on the quintuplets:

a
1 2 J Count

L IH L H L H 3 triplets

L H L H L H 3 quintu.plets

X X X X X X X X X Quintuplets accented

Adding five tri.plets to the pulse of the quintuplets thus making a fifteen beat cycle (see
page 58):

Count

3 triplets

3 quintu.plets

Five tri.plets against the quintuplets

35
Puat Rutruu
 Nine E Eighteen Beat CYcles

Non-metric (feel) rhythm modulation from 3 sets of triplets (nine beat cycle) to 3 sets
of
septuplets(t1 beatcycle of 5 +7 + 9 (21/2+ 3 t1z+ a 1/z)
The L tu H
@w) shifts feel slightly to accommodate the metric shift from three to
ftiih)
seven:

Count
æ
Track 9 ? trihlo+<

3 se.ptuplets

Adding accents on the triplets in nine:

Count

Tri.plets accented

3 triplets

3 septuplets

+ J /z + q
Adding accents in a 2't beat cycle of 5 + 7 + 9 (2 /z)
1
1
/2 1

Count

3 triplets

3 septuplets

Accents in 21

21 beat cycle

beat cycle
Adding seven tri.plets to the .pulse of the septuplets thus making a twenty-one
$ee page 62):

Count

3 triplets

3 septuplets

7 triplets againsr
the septuplets

21 beat cycle

36
 Nine & Eighteen Beat Cycles

tf 1 .
AIWAT lVlAWl,A,WX (Middle East)

Track I 0
Dum Tek Tek Dum Dum Tek Tek

Variation:

2e) e,
Dum Tek Ka Tek Tek Dum Dum Dum Tek Tek

Nim Rawan Middte East)

6ù
Dum Dum Tek Ka Dum Tek Ka Dum Dum Dum

NAqS (18 Beat Cycle. Middte East)

2 3 4 5 6 7 B 9 10 11 12 '13 14 15 16 17 18

Dum Dum Dum Tek Tek Tek Dum Dum Dum Dum Dum Tek Dum Tek

'Migrations" (18 Beat cycle)

2345
X X X X X X X

X X X X X X X X

37
Puat Ruvrut't
 Nine E Eighteen Beat Cycles

With a division of nine quadruplets:

6
Track 11
xl X X X X X X

X X X X X

With a division of six sextu'plets:

xl X X X X X X

X X X

,'

With the two divisions above combined (6 against 9):

X X X

xl X X X X X X

X X X X X

38
 Nine €v Eighteen Beat Cycles

Seuen plws Eleuen

I 1/2 plus 5 1/2 against six triplets: Track I 2
ù
X X X X X X X X X X

X X X X X X

Sam e .p attern against six sextu'pl ets:

er

X X X X X

X X X

z ù
X X X X X

X X X

Variation with the six sextuplets playing the Qaraqaba pattern (page 2):

23Qr
X X X X X

X X X X X X X X X X X X

4 Q,
2

X X X X X

X X X X X X X X X X X X

,r^, I
Eleaen Beat Cycles
Nihc ankaila @ ecitat of sharngadeu a)

2 3 4 5 6 7 8 9 10 11

X X X X X

123 123 12 12 4
I

Counted backwards:

1234s 6 7 B 9 10 11

X X X X X

1 12 12 123 123

PIayed backwards:

1 2 3 4 s 6 7 8 9 10 11

X X X X X

12 12 123 123 1

Eleven counted ot 5 1
/z :

12 ù
X X X X X X

'lst Variation:

12 QJ

X X X X X X X

2nd Variation:

Ql
12
L H H H H H
 Eleuen Beat Cycles

3'd Variation:

12 ù
H L L L L L

Kopanica @atkan)

12 12 1 z 3 12 12
Track 14
X X X X X

Zifakand (ruiaate East)

91011
Dum Tek Dum Dum Tek Tek

12 12 123 12 12

Variation:

123456789 10 11

Tek Dum Tek Tek Dum Dum

tz 12 123 12 12

Awis (Middle East)

12345 '10 11

teR Dum tek Dum Tek Tek Dum Dum

1 1 2 1
J 12 12 123

uywn Hawasi 1wiAau East)

12345678 9 10 11

Dum Tek Dum Dum Dum Tek Ka Dum Mah Tek

12 12 tz5 12 12
 Eleaen Beat Cycles

5plws6etn+s)
1 2 3 4 5 6 7 I 9 10 11

Track 15 X X X X X X
I
1 2 eJ 1 2 J

Variation:

12 3 4 s 6 7 B 9 10 11

L H H H H H

1 2 e, 1 z 5

7 plws 4 1s ttz + z)

1 2 3 4 5 6 7 8 9 10 11

X X X X X X

1 z 5 ?, 1 2

a
Variation:

1234567 B 9 10 11

L H H H H H

1 2 3 e7 1 2
 Twelue Beat CJtcles

,,,,,,,:.,a,,:,;&.r.,a,
't*.$'tt"
Ewe* BzII Pattern (west Africa) ,::i
'

l&2
,::,

Track 16
X X X X X X X

Counted as five plus seven (2

t
/2 +3 t
/z):
12345678 10 11 12
I irt'.1
rX:' X X a.:t\.:a X X X
ù

With four tri.plets:

12 ù
X X X X X X X

X X X X

With triqlets on the second beat:

2ù1 ù
X X X X X X X

X X X X
2ù ù QJ

With triplets on the third beat:

12ù ù
X X X X X X X

X X X X

' :. ro ilo Lrnced "eh-uey"

,,*
 Twelae Beat Cvcles

W ith th re e q uadr u.P I ets :

12 ù
X X X X X X X
lracK t /

X X X

Variation:

The above variations combined:

X X X X X X Ewe bell pattern

X

X X X X X X 6 duplets

X X 4 tri.plets
X X
X 3 quadruPlets
X X

X 2 sextuplets
X

Ewe bell pattern with triplet variation:

 Twelue Beat Cycles

Variation:

L H H H H H H

H H H H H H H H

L L H H H H L L H H H H

Variation with six against four:

123456 10 11 12

X X X X X X X

L H L H L H

L H L H Four

Ewe bell pattern: Grid made by taking each of the played pulses of the original
pattern
and shifting it to a new downbeat yielding six variations:

Pulses: 123456789101112
' Original: Starting X X
X X X X X Ewe.pattern
''tm the first pulse:
- Startingfrom the
X X X X X X X Bemba pattern
third pulse:
: Startingfrom the
X X X X X X X Bondo variation
fifth pulse:

- Startingfrom the
X X X X X X X
sixth Pulse:
: Snrting from the
X X X X X X X Yoruba pattern
eighth pulse:
'- Startingfrom the X X X X X Bondo pattern
tenth pulse:
X X
- Startingfrom the
X X X X X X X
twelfth pulse:

Bemba @entral Afuca)

Bemba pattern (#2 from the grid above) with four tri'plets:
,:(
a2 a3ù ù '

X X X X X X X

X X X X

Counted in six:

12 ù ù
X X X X X X X

X X X X

i'l
 Twelue Beat Cttcles

W ith th r ee q uadr u.p I ets :

1ùa2
X X X X X X X

X X X

Bondo Variatioll, (Alea of central Africa)

With four tri,plets (grid variation #3):

1er2a3 ?J
Track 19
X X X X X X X

X X X X

Counted in six:

1ù2 4

X X X X X X X

X X X X

With three quadr up I ets:

1ea2 e,

X X X X X X X

X X X

Variation with four triplets and three quadruplets:

L H H H H H H

H H H

L L L L

Yorwba
Yoruba pattern (grid variation #5) with four tri.plets:
Track 20
1a2Qra3Q, ?J

X X X X X X X

X X X X
 Twelue Beat Cycles

Counted in six:

12?r3?r4er5?r6
X X X X X X X

X X X X

Variation:

L H H H H H H

H L H L H L H L

Bondo (Alea of Central Afuca)

With four triplets counted in four (grid variation #6):

1a2a3era4
X X X X X X X

X X X X

Counted in six:
Track 22
12
X X X X X X X

X X X X

First Variation:

H L L L L L L

L L L L L L L L

Second Variation:

H L L L L L L

H H H H H H H H

Vari ati o n wi th q uadr u.p et .p atter

I n:

H L L L L L L

L L H H L L H H L L H H

,*^*!,1^l
 Twelue Beat Cycles

"Cla,t)e" Type BeIl Pattern withfowr triptets

X X X X X

X X X X

Variation:

L H H H H

H L H L H L H L

With one .pulse displaced:

1ù2
X X X X X

X X X X

With two ,pulses dis.placed:

Track 24
1a2ù 4

X X X X X

X X X X

With two sextu.plets:

1234

With two sextuplets adding Ewe bell:

X X X X X X X Ewe bell

X X X X X Bell pattern, two .pulses displaced

X X 2 sextuplets
 Twelue Beat Cycles

With four triplets and Ewe bell:

X X X X X X X Ewe bell

X X X X X Bell pattern, two .pulses displaced

X X X X 4 triplets

"Clave" type bell pattern with five pulses displaced:

1a2 a3er ù
X X X X X

X X X X

With six pulses displaced:

1ù2
X X X X X

X X X X

With seven .pulses dis.pl aced:

1a2ù e,
X X X X X

X X X X

Variation (Cameroon):

1ùa28r 8r eJ

X X X X X

X X X X X X X X

2'd Variation:

L H H H H

H H H H H H H H

3'd Variation:

L H H H H

H L H L H L H L

,"*^*r11rl
Twelae Beat Cltcles

With eight pulses disPlaced:

Ier2
X X X X X

X X X X

With eleven .pulses dis.Placed:

1Qr2Q,
X X X X X

X X X X

Lenjeno (Mandingo - The Gambia)

o s s s o Kutiriba drum

s o o o s Kutirindingo drum

X Count in 3
X X
Count in 2
X X

Malink€ Gwinea/Mali)

Fundamental pattern used in many rhythms:

s o s s o s 1st Djembe drum

s s o o s s o o 2nd Djembe drum

X X X X X X X X Bell

L L Kenkeni
L L

L L L Dundunba
L

X X Count in 4
X X

50
 Twelue Beat Cycles

Hawara Pattern (Morocco, cownted. in six)

4er5er
Track 26
Tek Dum Tek Tek Dum

With two sextu.plets:

12
Tek Dum Tek Tek Dum

X X

With four tri.plets:

12 ù
Tek Dum Tek Tek Dum

X X X X

Variation:

Tek Dum Tek Dum

X X X X

Variation with four triplets with "clave" ty.pe bell pattern with two pulses dis.placed
@age a8):

Tek Dum Tek Tek Dum

X X X X X

X X X X

Variation:
lracQ z /

Tek Dum Tek Tek Dum

H H H H H

H L H L H L H L

51
Puat Rnvtuu
 Twelue Beat Cycles

Another Moroccan pattern with four triplets:

123456
Track 28

Variation with two sextuqlets:

12345

Vari ati o n with si I ent sextu.p I ets :

12345

Bwlerias (Flamenco, spain)

Basic pattern (tradition has the .pattern starting on beat 12):

Bulerias Palmas (handclaps) counted against 6 quadru.plets:

34s678 10 11

sî^,
I
 Twelae Beat Cycles

Bulerias Palmas (handclaps), Jerez style:

"456

MODULATION OF PULSE:

Ewe bell pattern with the four triplets modulating to four quadruplets: I rdct? 51

X X X X X X X Ewe bell pattern

X X X X 4 triplets

1 e eJ d z e et a EJ 4 e ù d 4 quadrultlets

53
Punr RHvrH,vt
Twelue Beat Qtcles

Variation (36 beat cycle): Ewe bell pattern re.peated three times .(top line)
aglin:t
(third
!
triplets repeated thiee times $econd, Iine) .modulating to quadru'plets line)'

Quadru.plets accented as triplets (bottom line):

L H H H H H H

X, X X X
l:::i:rl:rll

'::::a:::::.

t1,:
ù al z er' d 3 ol
"l ù d tâ
:::ir:
e ù :::;;
a,:a.l

1
2

H H H Ewe bell pattern (3 time,

L H H H

X 4 triplets (3times)
X X

1 e. Q, a 21" Ql
a
J e Qt: a 4
:::::.il:l:.
:

ù a 4 quadruplets (3 times)

QuadruPlets accented as tri.Plets

4
I

fhirteen Beat CJtcles

Postwpalto (Batlean)
Track 32

910111213
X X X X X X
1 2 1 2 1 2 1 2 5 1 2 1 z

Counted backwards:

1234 910111213
X X X X X X
1 2 1 2 1 2 3 1 2 1 2 1 2

Variation:

12 910111213
X X X X X X X
eJ

Thirteen counted ot 6 1
/z: lTACR 3J
12345 9 10 11 12 13

X X X X X X X
ù

,^, *".i,i
 Thirteen Beat Cycles

Mwrabba,' (Middte East)

1234567 10 11 12 13
lr6CR 54
Dum Tek Ka Dum Tek Tek Tek Ka Dum

123 12 12 12 12 12

Dawr Rawan Halabi (Mid.dte East)

tracK 35

1234s6789 10 11 12 13

Dum Tek Ka Dum Dum Dum Tek Tek Dum

123 12 12 12 12 12

j
I
 Fteen Beat Cycles
3 against 5
3 against 5 (three quintuplets against five tri,plets):

1234s6789 10 11 12 13 14 15

X X X

X X X X X

3 against 5 counted as five sets of triplets:

123 1 2 311

5 against 3 counted as three sets of quintuplets:

12345 123

5 against 3
4

X X X X X

X X X
1

5 against 3 counted in five:

12
X X X X X
X X X
 Fifieen Beat Cycles

'l't Variation:

H H H H H

L L L

2'd Variation:

L L L L L

H H H

Rkytkrn Modwlation of Pulse

3 against 5 (to.p and 2nd lines) modulating to 5 against 4 (3'd and bottom lines, 'page 16)
Pricttce tipi kuep the 5 consistent in one hand and change from the 3 (top line) to the 4
(bottom line) in the other.

X X X 3 quintu.plets

X Y.,r. 5 triplets
X X .X'
X X X X IX 5 quadruplets

X X X X 4 quintu.plets

Fifteen Beat Cycle

Three sets of 5 (2 1
/2) against five triplets:
Track 38
12er1 2 8, 8l

X X X ,,X X X X X X

X X X X X
4

-1 st
I Variation:

X X X X 'X1', X

X X X X X X X X X X
 Fifieen Beat Cycles

2'd Variation:

ttrtlL H :,.L,1.:11 H ,,1 H

,llll::::lli::

H L H L H L H L H L

With triplets on the 2'd beat:

Tracle 40
1ù2a1
,X,." X X X X X X X X

X X X X X

With triplets on the third beat:

12a ù
1';,l.X' X X X X X X X X

X X X X X

Another five beat pattern:

Track 41
12ù
X X X

The same 5 beat pattern .played three times against five triplets:

12er1 22, 1 QJ

:,::':X-',,
X X X X X X X X

X X X X X
12
'lst Variation:

l,:il.[ H H L H H L H H

L L L L L L L L L L

2'd Variation:

L H H .t H H L H H

H H H H H H H H H H

59
Puat Rsvrsu
 Fifieen Beat Qtcles

3rd Variation:

:. -ttl

H H H H l:::*:::iil H H
Tracle 42
H L H L H L H L H L

Bwckirnislt, @attean)

123456 10 11 12 13 14 15

X X X X X X X
12 12 12 12 123 12 12

Lama (Raqsan) Middte East)

lract? 45
10 11 12 13 14 15

Dum Tek Ka Dum Dum Tek Dum Tek Ka Dum Tek

À 6 7
1 2 3 4 5 6 7 8 1 2 3 T 5

Fikrati (Mid.dte East)

10 11 12 13 14
,

15

Dum Tek Ka Dum Dum Dum Dum Tek

1 2 3 4 12 123 123 123

 Twenty-One Beat Cycles

Twenty-one duplets (7 + 7 + 7) against seven tri,plets:

12345

4 5

/ + / + / wttntnecountlS
-
.,LL /-
1/2+ 3 1/2 + 3 /2) against
1
seven triplets:
Track 45
3Qr1 er1 2 3ù1

Variation:

X X X X X X X X X

4 L H L H L H L H L H L H L

Three sets of a Berber seven (page 20) against seven trtplets:

4 5 6 tl1 2 3 4 s 6 7

Variation: 7 + 7 + 7 (3 t
/Z + J /Z1 +Z 1
/Z) against seven tri,plets on the 2nd beat:
 TwentY-One Beat CYcles

5+7+9(2 1/7+3 /2 + 4 /2) 1 1 against seven triplets:

a 1
'r3A

Track 47

Variation:
Track 48
X X
il X
a

X X X
L H L H L
L H L H L H
H L H

With triPlets on the 2'd beat:

7+9+ S p /z * q /2 * Z 1/z) against seven triplets:

t 1

9 +7 + 5 (t/z + 31/z* Z1/z) againstseventri'plets:

or1 2

Variation:
 _ :v_?:v_o!! t:!:_9!:::

42 Beat Cycles
Three sets of a Berber seven (page 19) against fourteen triplets:
lracQ 3l

Tek Tek Dum Tek Dum Tek Tek Dum

H L H L H L H L H L H L H L

Tek Dum ICR Tek Dum Tek Dum

1

H L H L H L H L H L H L H L
'

Three sets of another seven (2nd variation, 'page 20) against two sets of 21
çzt/z+ 3 1/z+ 4t/2):

Dum

Tehai of 5 pulses played against Ru.pak Tal (page 19; this pattern is not repeated and
ends on beat 1):
Track 53

63
Pune RHvrH,tl
 Tw en\/ -F our B e at Cy cles
Aka Pattern @entrat africa)

11 .plus 13 (5 1
/2 +6 1
/z) against eight triplets:
lracft 54

3 45er1 ù1

'lsr Variation:

L' H H H H H L H H H H H H

H L H L H L H L H L H L H L H L

2nd Variation:
lrack 55
H L L L L L H L L L L L L

L H L H L H L H L H L H L H L H

9 .plus 15 F 1/z * Z 1/z) against eight triplets:

4Qr1 2

Makongo Rkytlcrn @ka)

64
Puar Rrvrs,v
 fhirty Beat CJtcles
Sanna't Tunet phyed three times against ten triplets:
4
I

Snma'l Tnnetl- played three times against two cycles of fifteen (,page 5S):
lrack 5ët
10

Durn Tek Dum Dum Tek

X X X X X X

X X X X
15 *
 Thit'ty Beat Cycles

Aesne SAnnn't (page 13) played three times against ten tri,plets:

5 against 3 repeated two times with the 5 phrased as SAMa,r Tnnqt

1234 l

lu,1^,
 fhirty Beat Qtcles
I

'10 beat pattern (2 1/Z

Qnnnqaea ParreRu (page 2) repeated three times against a
played twice against five du.plets) repeated three times:

,t:itlt:Il
...r:H.:,,.l L H L r:: i!:ll: L H

,:ll:Xl X X X X X
tt!|alt::l
:t^::,il X X X X
1

Lltr::.
L lFl.l:i:i L H L

.i:iX::ll:
X X X X X

X X X X
2

L H L .l,.lH.lrl L H L
tiii:t::ai::i:l

X X X X X
i:li.lli:,
it^l::f X X X X
3

,r*^*1'^l
 fhirty -Thre e B e at Cy cles

Three sets of 11 (5 1
/2) against eleven triplets:

9 plus 11 plus 13 çlt/z +S 1/z + $1/z) againsteleventriplets:

Track 61

Variation with the downbeats of the elevens accented:

f,t^,
 Thirty-Thre e B e at Cy cles

12 (2 t/z +3 t/2) plus 21 (2 1/z + Z 1/z + q 1/z) against eleven triplets:

12
Track 63

21

21 (3 t/z + J 1/2 + Z 1/z) plus 12 çZ t/z * S 1/z) against eleven triplets:

21

12

I 1/2 + l, 1/2 + ] 1/2 + ) 1

/2 + 2 1/2 against eleven triplets:
Track 64

Variation:

L H H H H L H H H

H L H L H L H L H L H

L H H H L H H L H H

L H L H L H L H L H L

u,I
Thifty-Three Beat Cycles

33 Beat Cycle
Cornpositionfor 3 Bata Drwms

Okonkolo

R s s s S

L o o o o

R M o M M o M M

L s s s s

R s s s

L o M M M M M
 fhirty-Fiue Beat Cycles
S (Z t
/z) played seven times against Z (3 t
/z) played five times:
,&
l TACK Ô5
1 2 ù 1 2 QJ 1 2 Zr
X X X X X X X X X
X X X X X X X X X
1 2 3 eJ 1 2 3 ù 1

1 z QJ I 2 ù 1 2 ù I 2 eJ
X X X X X X X X X X X X
X X X X X X X X X X X
2 f
J Q, 1 2 3 er1 23ù
'lst Variation: Top line is 5 (2 1/z) changing to seven triplets (21) against Z (3 t/z)
.played five times:
Track 66
1 L ?, 1 2 8J 18r2ù
X X X X X X X X
X X X X X X X X
I
1 2 QJ 1 2 3 ?l

21 (7 triplets against 3 sets of 3 1 /2)

45

2nd Variation: Bottom line is 7 çz t/z) changingto five triplets (15) againsttop line
which is 5 (2 1/2) played seven times:
Track 67

1 2 QJ 1 2 QJ 1 2 ù 1 2 ù
X X X X X X X X X X X X
X.i X X X X X X X X X X
a
1 2 J e) 1 2 3 e) 1 2 3

234
15 (five triplets against three sets of 21 /2)
 Thirty-Fiae B eat Cy cles

3rd Variation:9 (4 1/z against three tri,plets) plus 5 t ,plus 21:

çZ /z)
23 QJ

X
X

21 (3 sets of 3 1 /2 against 7 triplets)

1

4tn
.variation:9 ftt/z againstthreetriplets).plus 5 (21/z) ptus21 (2t/2 *31/2 *q1/z
with accents on the downbeat of the 3 1/2 on the bottom line and triplets on the'top line):

Sth Variation:

Puet Rnvrnu
 Thirty-Fiue Beat Qtcles

35 Bear cvcre: 5 (2 t/z) plus two sets of 1s (2 t/z + 21/z + z t/z) againstfve
tri,plets on the second beat:

1 5 (five triplets against three sets of 21 /2)

ù1 2ù1

15 (five triplets against three sets of 21 /2)

er1 2ù1

7 against 5
Note the symmetrical structure of this 7 against 5 cycle.

Mystical Meridian

7 against 5:

4
X X X X
X X X

X X X
X X
I

i
i

73
Thirty-Fiue Beat Cycles

'l't Variation:

H H H H

L L L

H H H

L L

2nd Variation:

L L L L

H H H

L L L

H H
 etfiy-Fou,r Beat Cycles
.r&;
12 plus 21 plus 21 in du,plets against eighteen triplets:
lracl? /u

12
ù1 23et

12 (2 t/z + Z 1/z) plus 14 çS t/z + 3 r/z) plus 14 plus 14 in du.plets against

eighteen triplets (this can also be played and counted as'12 + Zt + 21):
Track 7 1

Variation: 12.plus 14 plus 14 plus '14 in duplets against eighteen triplets phrased as six sets of 9:

12 14
ù1

s 6 7 8 911 z 3 4 s 6 7 I 911 2 3 4 s 6 7 B 9

14 14
ù1 erl

_ 3 4 s 6 7 8 9i1 234567891 23456789

,r* **r7lrl
 Sixty Beat Cycles
Constrwction
The top line will be Sama'i Thaqil (page 12) - this 10 beat cycle will be repeated three times:
1234s67 8 9 10

Dum Tek Dum Dum Tek

the '15 beat cycle (page 58)

The middle and bottom line together make up ...

12ù1 2Qr1 2 ù
xl X X xl X X x. X X

X X X X X

... which will be re.peated four times total to make 60:

Track 72
3456

76
 Sixty Beat Cycles

t. Variation:
;,

234 10

ilDu,.* Tek Dum Dum Tek

il- H H H H H L H

it4 L H L H L H L H L H L H

15

't2 beats (Ewe bell patternr page 43) .played

five times against Jhaptal 10 beat pattern
(page 11), played three times:
2

X X X X X X X X X X X X

X X X X X X X

rD'r,,- Na Din Din Na Tin Na Din Din Na

,r*^*lrl^l
 Blue, Greo%, Red a,nd,Black
Composition for 4 batajons in fowr mouements
Adam Rudolph

,&
Tracle 74
Qo
rs -S

-s

;<-
bo -s
:e

ù6

=
^o

ï
+=

P
c.)
cq ots

s '=e
Ès
ù!4
qs
S^
>v
Fù SD -\3
'- l:
-{
.!n
s! (J
I
f--

r
ô'

>\
s
_sa

.s. ô
R'
R
.g
ô É
qf
^l
N'' ^,
F\<
:soo
ot5F
P -.S !-
R
*!a .=Jïi. p
ô +< À:
ll lr \
ù'
 Blue, Green. Red, and Black

SJ

>è

G.
cq
k
Èù

cq
tri
Èr
s,
(\ù

P
rh
I

R
l\l
^\

.s. .R.
N' R'
N
ËN
s a.)
SJ

'sa

'sa
\R-
^ ôi
Blue. Green. Red and Black

\ ^-

>a

16

a
-t

tr

-
r-1

rt
(-)
--è \
OJ

rÈ
!-\ .E .R.
!N' R'
vË
\+
\
M
ÊaN ËN
t^À
N
.g
Èr< .\ .\ô N
iÈ

l?:
o
-^ È\<
Èr
N
rl-
 Blwe, Green, Red and Black

00
G

-
a

F
tsr

-
-{
!

Ë
\
GJ
dè

lÈ
li N'
.s.
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t^À
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Ê*ù ô
.1 S -
5.! ÈX
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r'']
BIue. Green. Red and. Black

Part Iil - Red (in 2t)

Okonkolo Bataion

lst Itotele Batajon

12

znd Itotele Batajon

12

Iya Batajon
12

CouveRserroru (cnlleo ev rne lve)

Okonl<olo Bataion

lst Itotele Batajon

12

2nd Itotele Batajon

12

Iya Batajon
12
 BIwe, Green, Red and. Black

Part IV - Black (in 2 r )

Oleonkolo Bataion

Ist ltotele Bataion

2"d ltotele Bataion

Iya Batajon
12

VeRrnrroN
Okonkolo Batajon

1ç ltotele Batajon
12

2nd ltotele Batajon

12

Iya Batajon
12

83
GrossARv

Abakwa
or Abakuriis a secret men's society fiom cuba originating in Southeastern Nigeria. The
drums used in Abakuâ are called ttre bicinkomo.There are four drums used'

Aka
Indigenous people of the Ituri forest in Africa.

Bamileke
People of western Cameroon.

Bata
A family of sacred, double-headed drums from the Yoruba culture in present-day Nigeria
and DaLomey. Bata drums were brought to cuba and are now also played in the
u.s. and
elsewhere. tyais the mother or lead d-*, Itotele the middle drum and
okonkolo is the
smallest in the set.

"{#::r:""version of bata made by the Fatcongas company in santa Barbara, ca.

Bembe
People of northwestern Zaire.

Berber
The indigenous people of Morocco.

Claue
A Spanish word meaning key or keystone. In Cuban music it refers to a specific pattern and
the underlying structure of that pattern

Decitala
120 rhythms of India listed by Sharngadeva in the 13th century in his treatise
Sangitaratnakara.

Ewe
People of south-east Ghana and south-west Togo (pr' eh-aey)

Gnawa
Gnoua of Morocco are the descendants of people from sub-Sahalan west
Africa who
or
perform a complex liturgy which includes a night{ong trance ceremony'

Hamacha
A Sufi brotherhood of Morocco.

Houwara
A type of music originating from a group of people from the village of Houwara
in the
south of Morocco.
 Glossary

Qaraqaba
ot qaraqeb - pair of large metal castanets, which play the foundation rhythm in Gnawa
music.

Rhythm
Time or duration. In the context of this book, rhythm refers to organized.metric paterns.

TabIa
4 puit of single-headed drums used in North Indian music, consisting of the right-hand
drum (tabla) and the left-hand drum (banyan).

TaIa
ot tal- "time measurement";the rhythmic/metric system of North and south Indian music.

Tehai
From North Indian music: A musical phrase consisting of three identical phrases
separated
by equal pauses; usually each sub phrase ends in a=stressed stoke, with the final stress
falling on "one" (called "sam", pronounced like the english word, sum) or dornmbeat.

trl
 ABOUT THE AUTHOR

Originally from Chicago, composer and hand-drum-

as a leader' He has performed at
mer/ percussionist Adam Rudolph has over'20 recordings
.orrnil.r, festivals and concerts worldwide'

Since the his uni-que s;mcretic approach to hand-

r9TO,s Rudolph has been developing
Yusef Lateef' Don cherry'
drumming with many creative music artists; m'ost significantly
Rivers'
Jon Hassel, Wadada Leo Smith and Sam
performing ensembles: Adam
Rudolph is the composer and arlistic director for several
Ensemble and Hu:Vibrational'
Rudolph,s Moving Pùtures, Vashti International Percussion
He also improvisationally conducts his compositions
with Go: organic otclteslra' a 27
opela, "The Dreamer", based on the
piece woodwind, string and per-cussion ensemble. His
ie"t of Nietzsche's "the girth of Tragedy" premiered in 1996'

Visit Adam RudolPh on the internet:

wn'w.metarecords.com

WorkshoP and residencY info:

adam@metarecords.com

SÊLECTED DISCOGRAPHY

Compositions by the author, for a variety of ensembles'

can be found on the following
which utilize the concepts and rhythms in this book,
recordings:

Lateef (Meta)
2OO3: Go: Organic Orchestra, In The Garden with Yusef
2OO2: Go: Organic Orchestra, Web of Light
(Meta)
2002: Go: Organic Orchestra: 1 (Meta)
2Oo7: neyonàthe Sky Octet with Yusef Lateef
(Meta i YAL)
Moving Pictures (Meta)
1999: 72 Arrows - aàam Rudolph's
7997:Contemplations-AdamRudolph'sMovingPictures(Meta)
7997:T1^:,eWorld at Peace (Music foriZ Musicians)
with Yusef Lateef (Meta / YAL)
1,995:Th'teDreamer - an original Opera - CD and book
(Meta)
Pictures (Soul Note)
1994: Sky'way - Adam nudolph's Moving
Fish)
D92: AàamRudolph's Moving Pictures (Flying
1988: Wasalu - Eternal Wind (Flying Fish)
1.986:Terralncognita - Eternal Wind (Flying Fish)
1984: Eternal Wind (FlYing Fish)
, lill Jl J llllllllullllll