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Middle Eastern Dance / Dumbek Rhythms (for dumbec, doumbec, doumbek, Arabic tabla, darabuka ...)
Here are some traditional rhythms (mizan, iqa, wazn, darb, dawr)
that are played as Middle Eastern and Mediterranean dance rhythms or
as accompaniment to Middle Eastern and Mediterranean melodies. I
would appreciate any comments, corrections, or additional rhythms or
variations. Send me e-mail!
Some of the rhythms have WAV samples -- they are short, low
quality, and don't loop very well; but at least you can sort of hear
the rhythm. Caveat: This is quick and low quality recording of me
playing the rhythm so don't take it as gospel that this is how it
should be played. If your browser is sound-enabled
(i.e. you can hear .WAV files), click on the name of the rhythm to
play the sample.
I've added a MIDI generator -- so now you can click on
the [MIDI] next to the rhythm and my MIDI rhythm generator page will
be loaded with that rhythm. This is only useful if you have a sound
card and/or browser plugin that will play standard MIDI files (BTW- it
probably does).
 Hey! Got a Palm Pilot?? Here
is some stuff just for you!
A Note on the Names
I use names for these rhythms which tend to be accepted among the
community of drummers that I have known and the sparse documentation
that exists on this (extremely folk) tradition. I have tried to note
variations of name. Also note that many of the names are
transliterated from some language that doesn't use roman letters so
spelling may vary. Please let me know if you know of other names or
local traditions. In some cases I don't know what the rhythm would be
called in the Middle East -- in many of the folk cultures of these
areas the rhythms are not particularly named -- you would say
something like "Let's play the one that goes to this song..."
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Time Signatures
For a modern percussionist the most important thing is how many
beats there are to a measure. Therefore you may see other time
notations for particular rhythms -- for instance Maqsum could be said
to have 8 beats per measure rather than 4. I've tried to use the time
signatures that a musician would recognize to help imply how fast the
rhythm is usually played -- for instance Maqsum (a 4) generally takes
half the time that Masmoudi (an 8) does.
Historically and traditionally (even now in some folk music
traditions) this sense of meter or measure is much less important.
The ancient Greeks, for instance, had only a sense of stringing
numbers of longer or shorter beats together. Repeating cycles were
because of the song, not because there was a particular length of
measure. Sometimes interpreting a folk rhythm in our modern western
musical context is a challenge...
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Notation:
In traditional Arabic Tabla (Dumbek), TEK and KA may be played with
either hand and represent different sounds: TEK indicates either the
accented strike or possibly the resonant (as opposed to damped)
high-pitched sound -- depending on your methodology. However many
people find it easier to learn (and teach) by using the traditional
names to indicate the hand to strike with. So you may see many forms
of notation. Here is mine:
Note that I've preserved various accents "grab","slap","pop" as I've
have seen these rhythms written. There is some variation in how
people represent these tonally accented strokes -- in any case all of
these are a particular accent whether it be a closed (rather than the
usual open) tone and/or modifying the sound with the other hand.
Most of the rhythms shown below are shown in simple (non-filled) form
and then various ways to fill the rhythm are shown.
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Text Key:
D - Dum (right hand clear low tone)
T - Tek (right hand high crisp tone)
K - Ka (left hand, sounds like Tek)
P - Pop (Ka while deadening head w/ other hand cupped)
G - Grab (or Stop -- deadened, usually right hand)
S - Slap (like Grab)
m - Alternate "Dum" (left hand low tone often muffled)
r - finger roll
3 - triplet (following 3 strikes)
Note: Accented (fundamental) strikes are indicated with an UPPERCASE letter.
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The Maqsum's / Beledi, Falahi, Walking Maqsum
The simple Maqsum is the basis of many rhythms and is especially
important in modern and folk Egyptian rhythm. If you listen to Middle
Eastern percussion accompanying music you will often hear the
distinctive [DT-TD-T-] of the Maqsum.
I've heard Hossam Romzy exaggerate that maqsum is the basis of all
Egyptian rhythm. The simple maqsum and all the ways in which it can
be embellished really demonstrates the Middle Eastern percussion
tradition. The Middle Eastern percussion instruments are responsible
for laying out the meter of a song but there is also room for plenty
of expression by each individual instrument.
I've heard some Egyptians refer to the simple maqsum as "Wahida wa Nisf".
1---+---2---+---3---+---4---+---|
D T T D T | [MIDI]
D T k k T D k k T t k | filled [MIDI]
D G k k G D k t k G k k | alternate [MIDI]
1---+---2---+---3---+---4---+---|
Beledi, which is a more folksy version of the basic Middle Eastern
maqsum, is characterized by the familiar two DUMs that lead the
phrase. It is probably more properly called Masmoudi Saghir
("cut-in-half Masmoudi") since it has the Masmoudi accent and phrase
but is played in 4 beats rather than 8. Some say that to play it with
the traditional "feel" the accents (after the first) should lag
slightly. The rhythm is generally known as Beledi among the American
belly dance community. The word "Beledi" means "of the country" and
implies (in Egypt) a bit of a "hick-ness" or folk-ness. This rhythm
is very typical (to the point of overuse) for belly dance, but the
double-DUMs tend to drown out melodic accompaniment -- therefore when
playing with a subtle melodic instrument that cannot easily be heard,
a simpler version of maqsum is usually preferred. Beledi is usually
played more slowly that a 4/4 maqsum.
1---+---2---+---3---+---4---+---|
D D k k G D k k G k k | [MIDI]
D D k t k D k t k | [MIDI]
D D k t k D k t k t k | with bridge [MIDI]
D D k P D k P | egyptian [MIDI]
D m T t k D D t M T t k | another egyptian [MIDI]
D k D k t k G k D k t k G k t k | walking [MIDI]
1---+---2---+---3---+---4---+---|
Beledi 8s 4/4
Beledi (or really any maqsum) is often joined with another 4 beat rhythm to form a more interesting 8 beat phrase. Here are a couple of examples:
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1---+---2---+---3---+---4---+---|1---+---2---+---3---+---4---+---|
D D k t k D k t k t k |t k D t k D D t k t t k | Beledi/Ghawazee or Beledi/Saidi[MIDI]
D D k t k D k t k t k |t k t k D t k D D T | another Beledi/Ghawazee [MIDI]
D t m T D m T t k |D D m T D m T t k | very fast [MIDI]
1---+---2---+---3---+---4---+---|1---+---2---+---3---+---4---+---|
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very fast and often evenly filled version of the maqsum is called
Falahi, and is a common folk version used for dance ("falah" is
another word for country-folk or peasant). It is very similar to
Ayyub. It is common in upper Egypt. Falahi is usually played about
twice as fast as a maqsum and therefore is often considered a 2 beat
rhythm -- played more slowly it is also called "walking maqsum" due to
its even stride.
Falahi 2/4
1---+---2---+---|
D k k D k | like ayyub [MIDI]
D G k G D G k G | simple [MIDI]
D G k G D k G k | alternating [MIDI]
1---+---2---+---|
Walking Maqsum 4/4
1---+---2---+---3---+---4---+---|
D T k T D k T t k | [MIDI]
1---+---2---+---3---+---4---+---|
Saiidi (Ghawazee)
This rhythm, again essentially a maqsum, but with a different
flavor of fill and accent, is popular in upper Egypt (remember "upper"
Egypt in in the south). It is similar to Beledi, usually played fast,
upbeat and powerfully. It is traditionally used for the Talhtib (a
man's ritual "stick dance") as well as belly dance (especially the
cane dance -- which is partially a parody of the man's version). I've
also heard this rhythm called Ghawazee since these dance forms, and a
particular style of belly dance using this form of rhythm, are popular
among the Egyptian Ghawazee.
1---+---2---+---3---+---4---+---|
D k k D D k k S k k | [MIDI]
D S k k D D k k S k k | [MIDI]
D t D D t t | syncopated [MIDI]
D k t k D D t k t t k | syncopated fill/bridge [MIDI]
D k G k k D D D k k G k k | 3 dum [MIDI]
D k G k t k D k D k t k G k t k | walking? [MIDI]
1---+---2---+---3---+---4---+---|
Sombati
Another variation of a maqsum with different accent, Sombati is used in during taqsim or for vocal accompaniment.
Sombati 4/4
1---+---2---+---3---+---4---+---|
D T T D T | [MIDI]
D k T k T D k k T t k | filled [MIDI]
1---+---2---+---3---+---4---+---|
Masmoudi
The Masmoudi rhythm is characteristically a joining of two 4-beat
phrases. Sometimes it is called "Masmoudi Kebir(big)" to
differentiate it from a 4-beat rhythm (Masmoudi Saghir). Often the
first phrase has 2 leading beats. One of these versions is called
"warring masmoudi" -- supposedly it sounds like a man and woman
arguing. A 3 leading beat version is usually called "walking
masmoudi" -- the even stride making it particularly suited for
marching. Masmoudi's are fairly common in belly dance music -- they
are particularly percussion-intense and make a quite convenient and
recognizable rhythm in which a dancer can accent a dance.
This is at its core the same rhythm as maqsum but it is filled as an 8
rather than a four and played more slowly. Generally speaking Masmoudi's
sound big (kebir) and the maqsums quick and nibble (khafif).
There is some evidence that the masmoudi rhythms were used in early
muwashahat music and have a more art-music basis than the maqsum which is
currently found in a lot of folk songs.
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Masmoudi 8/4
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
D D T D T T | basic [MIDI]
D D t k t k t k D t k t k t t k t k t k | "warring" [MIDI]
D D D t D t k t k t t k t k t t k | "walking" [MIDI]
D t k D t k t k T k D t k T k t t k t k t T k | 3 beat syncopated [MIDI]
D k k D k k t k T k D t K k T t K k T K | 3 beat variation [MIDI]
D k k D k k t k t k t k D k k t k t k k t k t k | more traditional hand pattern
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
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Ayyub (and Bayou)
Ayyub is a common and fairly simple 2/4 rhythm. It is played in areas
of the Middle East from Turkey through to Egypt. It is used in a slow
form for a tribal north African (Egyptian) trance dance known as the
Zar -- toward the west (Morocco) these same sorts of trance dances are
generally done to a 6 beat rhythm. Ayyub is also quite common at a
faster (or much faster) pace in belly dance music and music for folk
line dances. Some say that Ayyub is supposed to sound like a camel
walking. Bayou is a rhythm with the same time pattern but has a
double DUM and is usually played more slowly -- it is often used in
belly dance drum solos.
1---+---2---+---|
D k D K | simple [MIDI]
D k t k D k t k | alternate [MIDI]
D k k D G | classic [MIDI]
1---+---2---+---|
Bayou 2/4
1---+---2---+---|
D D D T | Bayou [MIDI]
D k D D S | [MIDI]
1---+---2---+---|
Karatchi
Karatchi is a fast 2/4 (like Ayuub, except with TEK where DUM should
be). Note the DUM somehow comes out less accented than the other
accented beats. It is used in modern Egyptian music and sometimes
alternated with similar rhythms as a part of a song.
Karatchi 2/4
1---+---2---+---|
T k K T D | [MIDI]
T k t K T D | [MIDI]
1---+---2---+---|
Vox
A very simple 2 (essentially a march -- probably inspired by western
music) often accented in sets of 4 or 8. Used in modern Egyptian
compositions. Used by Egyptian composer Mohamed Abdel Wahab.
Vox 2/4
1---+---2---+---|
D T K | [MIDI]
1---+---2---+---|
Bolero and Rhumba
Bolero and a very similar rhythm, Rhumba, are used in many places in
the Middle East. Bolero is usually played more slowly and often with
a sort of triplet near the beginning -- it is used to accompany songs
like "Erev Shel Shoshanim" and "Miserlu". Rhumba is often played
almost twice as fast (Rihlat El Ghawzia by Hossam Shaker). This
family of rhythms and variations were probably brought to Spain by
Middle Eastern musicians (and gypsies?), adopted into Latin music and
re-introduced in various ways into modern ME tunes.
Bolero 4/4
1---+---2---+---3---+---4---+---|
D 3tkkT k T k D k | [MIDI]
D k k T k k T k T k D T | [MIDI]
1---+---2---+---3---+---4---+---|
1---+---2---+---|
D tkt K t K D k | [MIDI]
1---+---2---+---|
Ciftetelli
This Greek or Turkish rhythm (presumably named after the Turkish
instrument with doubled strings tuned an octave apart) is
characterized by particularly not accenting the 3rd beat (sometimes
accenting the 3 1/2 instead) and usually heavily accenting 5, 6, and
sometimes 7. It is, at its basis (if you cross your eyes a lot),
similar to a maqsum, but is filled as an 8-beat rhythm and has a much
different feel. It is common in Turkish (and other) belly dance --
usually it is play moderately slowly and preferably (I think) with a
lot of space (i.e. not all "filled in"). Drummers tend to have fun
filling in the end of the rhythm in various, sometimes unexpected,
ways. It is sometimes used to accompany a taqsim (melodic improvisation).
Egyptians tend to play simpler version of Ciftetelli than you might find in Turkey and call it "Wahida Taqasim" or maybe "Wahida Kebir".
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1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
D t k t t t k D t D D t | [MIDI]
D t k t t t k D t t k D D t k t k t | [MIDI]
D t k t t t k D t t t t k t t k t k | [MIDI]
D T K K T D K k T k k | fast [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
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The 3+3+2's : Cocek, Malfuf, Saudi, Serto
Middle Eastern 8 beat rhythms that are composed of groups of 3, 3, and
2 beats, where the accent is on the first of each group, are found
throughout the Mediterraean and Middle East. The Macedonian gypsy
(Romany) version is called Cocek (CHO-CHEK) and has a spacey swing to
it. In other areas of Greece these rhythms are used to accompany many
songs and line dances and tend to be known as "Serto" (which is the
name of a particular line dance, and also is used to describe the
style of music). Serto's tend to rock
back-and-forth on alternating measures changing accent slightly (or
dramatically) and sometimes are far from "straight" -- being pulled back
sometimes to almost a 7-beat.
In the gulf region (Saudi Arabia) this type of rhythm is called
"Saudi" or "Khaleegy" and is played more slowly and less filled with
DUMs on both 1 and 3. It is sometimes played polyrhythmically with
other 8-beat rhythms (e.g. Karatchi) -- polyrhythm being an oddity in
Middle Eastern music. Apparently this is a fairly modern musical
trend influenced by workers imported from other countries (especially
from continental Africa) to support the oil economy.
In Egypt and Lebanon this
rhythm is called "Malfuf" or "Leff" and is more filled and often
accented -- most often with a DUM only on 1. Malfuf is used to
accompany line dances and also used in more modern, popular music.
Cocek 4/4
1---+---2---+---3---+---4---+---|
D t T t T k | syncopate [MIDI]
1---+---2---+---3---+---4---+---|
1---+---2---+---|
D k k G k k D k | [MIDI]
D k k G k k G k | [MIDI]
D t K k T | spacey [MIDI]
1---+---2---+---|
Saudi 2/4
1---+---2---+---|
D k k D k k G k | filled [MIDI]
D k D k T k | more common [MIDI]
1---+---2---+---|
1---+---2---+---3---+---4---+---|1---+---2---+---3---+---4---+---|
D k D k t k |D k T k t k |
1---+---2---+---3---+---4---+---|1---+---2---+---3---+---4---+---|
Zaffa
This rhythm is used in the Egyptian wedding processional. Its basic nature is that of a march. It is used in the wedding processional itself and also sometimes for belly dances that are reminiscent of these events. (Note that the related "candelabra dance" is usually done to a more up-beat 2 or 4 beat rhythm -- e.g. Saidi).
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1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
D t k t t D t t | [MIDI]
D t k t t D t t | [MIDI]
D t k t t D t D | [MIDI]
D D D t t k t k t t | Hossam Ramzy's "Big Zaffa" [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
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Nawwari
Used for line dances in Syria and Lebanon.
Nawwari 4/4
1---+---2---+---3---+---4---+---|
k D k k G D k k G k G | [MIDI]
1---+---2---+---3---+---4---+---|
A Really Old 8 : The "first Thaqil"
In a 13th century work on music, Safi-al-Din describes a rhythm that is
perhaps the earliest rhythm that is documented enough to be completely
reconstructed. He called it the "first Thaqil":
First Thaqil 8/4
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
D D D D D | [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
Wahida (Wahda, Wahdah)
"Wahid" is "one" in Arabic. These rhythms are so called because they
have a single DUM at the beginning. A particular, Wahida Sayirah is
also called "Libi" by Egyptians due to its apparent modern popularity
in Libya. Wahida is often used during the vocal/legato parts of songs
-- the single accent makes it easy for the drum to follow the long,
sometimes stretched syllables of this part of the song.
A fast Wahida that goes back and forth between hands sounds
much like a 6-beat rhythm -- it is often used as an accent during
belly dance music or drum solos. The Wahida, since it is primarily
just an initial accent with varying fill, can be used to make
transitions between rhythms of various counts and fills (i.e. can
be used as a "break").
Wahidah 4/8
1---2---3---4---|
D D M | [MIDI]
D T T | kabira (like Malfouf) [MIDI]
D t k t k t k | kabira [MIDI]
1---2---3---4---|
1---+---2---+---3---+---4---+---|
D T K K T T K K T K | usually played fast [MIDI]
1---+---2---+---3---+---4---+---|
Wahidah Saghirah 4/4
1---+---2---+---3---+---4---+---|
D T K | [MIDI]
1---+---2---+---3---+---4---+---|
Bambi
Bambi is rhythm somewhat similar to a Wahida - it is characterized by
a 3-DUM sequence. Add in 2 DUMs at the end -- or sometimes it is
"rotated" and the 3-DUMs are at the beginning.
Bambi 4/4
1---+---2---+---3---+---4---+---|
D T K K T T K K D D | [MIDI]
D D D T K K T T K K | [MIDI]
1---+---2---+---3---+---4---+---|
Karsilama
Karsilama means "face-to-face" in Turkish. This 9 beat rhythm is a
popular belly dance beat, and is also used in Turkish folk songs
(e.g. "Rompi Rompi"). The rhythm is grouped as 2+2+2+3 or can be
counted in two uneven groups of 3 (slow-then-fast) 1 2 3 123.
1---2---3---4---5---6---7---8---9---|
D T D T T T | [MIDI]
D k k T k k D k k T K T | [MIDI]
D k t k T k k D k t k T K T | [MIDI]
D k k T k k D k k T k T k T k | [MIDI]
D t k D t k T t k t k T T | "Gypsy Variation" [MIDI]
1---2---3---4---5---6---7---8---9---|
Zeybek/Zeibekiko/Zembekiko
This rhythm is used in Greek and Turkish folk music.
It is the basis for Zembekiko music. Zembekiko is (an
apparently popular) Greek solo dance for men -- I have heard it
described as "a guy dancing around a glass of ouzo on the floor
looking like he's rolling dice".
Samra sent me a description from a Greek folk dance teacher:
...Zembekiko was born from Rembetika and came out of
the war periods (20's - 40's). It was a way for people to express their
pain - the songs then were all about hardship, poverty, loss, etc. (Now
they are mostly songs about love songs - usually loss in love). The dance
is traditionally done solo, usually with a hunched stance and often with a
smoke in one hand and a drink in the other, representing the sorrow they
feel and the fact that they're drowning it in drink.
It's an improvised dance. There are no set steps, it's a set
style. Big leg kicks, lots of swaying, often low to the ground, arms
outstretched and in a hunched stance, head bowed and eyes to the ground.
Generally known as 'the drunk man's dance' among Greek people, but according
to Mary this is erroneous. It comes from the history of Zembekiko (see
above), but of course one does not need to be drunk to do it. ...
It's not an ancient dance like other folk dances. It's
like the blues of Greek dancing.
This is a 9-beat rhythm
with a completely different feel than Karsilama. It is grouped 4+4+1.
Notice that it is fundamentally two measures of a maqsum followed by a
single beat. The "extra beat" can be used by a good dancer to add
particularly noticeable accents to a dance arrangement.
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1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---9---+---|
D t t D t D t t D t t | Maqsum-like [MIDI]
D t t k t k D t k t t k D t t k t k D t k t t t k | filled [MIDI]
D t t D t D t t D t t | Ayyub-like [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---9---+---|
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Curcuna
Curcuna (JOOR-joon-nuh) is an Armenian rhythm. It is a 10 rhythm
being grouped 3+2+2+3. When played it can almost sound like Ayyub
with just a bit more space in it. Be careful not to "straighten it
out" into a 2. I have sometimes heard the rhythm called "Nubar" --
probably because it is used for the song "Nubar Nubar".
Al Shavarsh Gardner says this about Curcuna:
One small thing, Curcuna would be more properly 10/16 not 10/8 as the
division of notes in the asymmetrical 10 is 5 notes per beat.
...
I'm Armenian so don't take this as a criticism of Armenians but they
tend to write it as 10/8. Many years ago when many of the musicians were
wonderful players but not "schooled musicians" it was even identified as 6/8
on some record jackets (possibly because the same tune played in "Russian
Armenia was in fact done in 6/8 and the Turkish influence caused it to be
played in Curcuna ex. Sari Serron Yar on the folkways recording).
Curcuna 10/8
1---2---3---4---5---6---7---8---9---0---|
D k t k D k D k D k t k | [MIDI]
D D | bass
D k k T k D k T k k | quick [MIDI]
1---2---3---4---5---6---7---8---9---0---|
Laz and Kalamantiano (and some other 7s)
These are the two basic fast 7 rhythms; Laz being grouped 2+2+3 and
Kalamantiano 3+2+2. Both are used in various folk line dances and
songs. Other 7s share these patterns: Devra Hindi, slower and less
full, is also 3+2+2.
Laz 7/8
1---2---3---4---5---6---7---|
D k D k D k t k | [MIDI]
D k D k T k t k | [MIDI]
1---2---3---4---5---6---7---|
Kalamantiano 7/8
1---2---3---4---5---6---7---|
D k t k D k D k | [MIDI]
D k t k D k G k | [MIDI]
1---2---3---4---5---6---7---|
Devra Hindi 7/8
1---2---3---4---5---6---7---|
D k D k T | [MIDI]
1---2---3---4---5---6---7---|
Dawr Hindi, Muhajjar, Muraba, Sama'i Darij, Sama'i Thaqil
These rhythms (and others, such as Masmoudi) are used in a form of
spoken/sung Arabic poetry (muwashahat). The Samai (from "Sma" =
listen??) is a Turkish form of classic music (some say "old
aristocratic Turk music") that has a certain structure of 10 beat
sections and usually ends with a faster set of 6 beat measures. I
have also heard "Dawr Hindi" called "Sheelto" (I don't know whether
this is correct as I've also heard a similar 6 beat rhythm referred to
as Sheelto). These rhythms tend to be found more in art music
rather than folk music of the Middle East. I've seen Egyptians refer
to Dawr Hindi as "Andalus" (e.g. Amar Andalus by Mokhtar Al Said).
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Muhajjar 14/4
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---9---+---0---+---1---+---2---+---3---+---4---+---|
D D D T D T T T T | 4+2+2+6 [MIDI]
D t k D t k D t k t k T t k t k D t k t k T t k t k T t k t k T t k T t k | filled [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---9---+---0---+---1---+---2---+---3---+---4---+---|
Muraba 13/4
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---9---+---0---+---1---+---2---+---3---+---|
D T K D T T T T D | 3+6+4 [MIDI]
D T t k t k D t k t k t k t k T t k t k T t k t k D t k t k | filled [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---9---+---0---+---1---+---2---+---3---+---|
Samai Darij 6/8
1---2---3---4---5---6---|
D T K | basic (3/4) [MIDI]
D T k T D T | [MIDI]
D tk tk Dk tk | [MIDI]
1---2---3---4---5---6---|
Samai Thaqil 10/8
1---2---3---4---5---6---7---8---9---0---|
D T D D T | 3+4+3 or 5+5 basic [MIDI]
D tktt tktkS tktt D D Tt tktkt tk| Usually played slow [MIDI]
D t k t k P t k D D T t k t k | I've also heard it very fast[MIDI]
1---2---3---4---5---6---7---8---9---0---|
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"Dawr" is used in Arab, Persian, and Turkish music lingo; it refers to
a scale or rhythmic cycle that returns to its starting point. "Dawr
Hindi" is first documented in "Ma'refat-e 'elm-e musiqi" an anonymous
work from about the 17th century (probably Persian).
Dawr Hindi / Andalus 7/8
1---2---3---4---5---6---7---|
D T T D T | 3+4 [MIDI]
D T k T k D t k T t k | filled [MIDI]
1---2---3---4---5---6---7---|
Rhythms in 3 and 6 -- Darj, Moroccan 6, Tsamiko
6 beat rhythms toward the Persian end of the Middle East tend to be
straighter (not syncopated), while in the Mahgreb 6s are generally
played with a lot of syncopation. In Morocco 6 beat rhythms would be
preferred for trance dances, while in Egypt either odd-meters or a
slower 2-beat rhythm would generally be preferred. A Greek rhythm,
Tsamiko, is kind of like a truncated Rhumba or Bolero. Darj is used in
Persia and in Andalusian music.
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Moroccan 6/8
1---2---3---4---5---6---|
D k k G k k | [MIDI]
D k k G k G |
D k k G k D |
D k D D D D |
D k G k G k |
1---2---3---4---5---6---|
1---+---2---+---3---+---|1---+---2---+---3---+---|1---+---2---+---3---+---|1---+---2---+---3---+---|
D t k t k |D t k t k |D t k t k |D D T | [MIDI]
1---+---2---+---3---+---|1---+---2---+---3---+---|1---+---2---+---3---+---|1---+---2---+---3---+---|
Tsamiko 3/4
1---+---2---+---3---+---|
D k T k T k | greek [MIDI]
1---+---2---+---3---+---|
Darj 6/8
1---2---3---4---5---6---|
D k t k D T | [MIDI]
1---2---3---4---5---6---|
Darj (in 4) 4/4
Touma in "Music of the Arabs" gives a version of Darj in 4 -- I'm confused....
1---+---2---+---3---+---4---+---|
D D T T | [MIDI]
1---+---2---+---3---+---4---+---|
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Chaka
This is a rhythm invented by David Korup (Daveed). It is rather
mathematically pleasing (being a 12 that counts down: 6+3+2+1), also it
is a blend of Middle Eastern and African styling that makes for a very
playable and dance-able rhythm.
1---+---2---+---3---+---4---+---5---+---6---+---|
D t k t k t t k t k D t k t t k D t | How I remembered it...and
D T k T k T T k T k D T k T T k D K | How Daveed plays it [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---|
Sha'bia
A Moroccan polyrhythm (unusual in Middle Eastern music -- and hardly a polyrhythm by the standards of continental African rhythm) played on at
least two drums. The 6 beat rhythm is supposed to represent "heart"
and the 12 "lung".
Sha'bia 6/8, 12/8
1---2---3---4---5---6---|1---2---3---4---5---6---|
T K T K D K |T K T K D K | 6 part [MIDI]
G D K G K D |12 part [MIDI]
1---2---3---4---5---6---|7---8---9---0---1---2---|
Basiit, Qaim wa nisf, Btaih, Darj and Qoddam
These rhythms are traditionally used in a form of Andalusian musical
presentation known as "nawbaat". Each section of a nawba contains
some number of songs that share one of these rhythms and are played
without break (or sometimes with a brief taqsim).
Basiit has the feel of a bolero or rhumba, but in 6. I suspect that
they are related somewhere in the distant past in the blending of
Arabic tradition. Quaddam, although written as a 3 often comes out
(at least in songs I've heard) sounding like a 2 or a 4 -- especially
when it gets fast (and it does). This may be the effect of a
"modernization" of Andalusian music.
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Basiit 6/4
1---+---2---+---3---+---4---+---5---+---6---+---|
D k D t k T k t k D k t k | 4+2 [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---|
Btayhi 8/4
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
T k T k D t k T k T k D k T k D k | 2+3+2+1 [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
Qaayim wa_nisf 8/4
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
T k T k D t k T k t k D k D k t | 3+2+3 [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---|
Quddaam 3/4 (Quddam)
1---+---2---+---3---+---|
D t k t t D t | [MIDI]
D k t k D t | [MIDI]
1---+---2---+---3---+---|
Jerk
Modern Nubian rhythm inspired by a dance of the same name. (Similar
to Samba?) In Egyptian songs (e.g. Fi Yom Wi Leyla) I've heard the
double-Dums very close together -- although someone told me that Souhail Kaspar (a Lebonese teacher
in CA) taught them the less syncopated (second) version below.
Jerk [JAIRK] 4/4
1---2---3---4---|
D T DD T | [MIDI]
D kkT tkDDtkT tk| [MIDI]
D T D D T | [MIDI]
D tkG tkDkDkG tk| [MIDI]
1---2---3---4---|
Neda Voda
Neda Voda is a song that was brought from Macedonia by [can't remember
his name] who heard this song being played in a train station by the
locals. This is the rhythm that goes with it. It is rather unusual
in that it is an eleven.
Neda Voda 11/8
1---2---3---4---5---6---7---8---9---0---1---|
D t k t t k D t k t t k D D | Macedonian "Porch Song" [MIDI]
1---2---3---4---5---6---7---8---9---0---1---|
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Aqsaq / Aksak
These rhythms are documented in Touma's "The Music of the Arabs".
Aqsaq is asymetrical or "halting" or "limping" rhythm. The term "aqsaq" or "aksak"
is used by Turkish musicians to describe a wide variety of rhythms
counted in groups of 2s and 3s that are not even. Aqsaq rhythms do not
necessarily well fit our western traditions of ratioed measures -- playing
correctly is more about fitting the phrasing and timing of the song
than some mathmatical structure. This type of rhythmic structure follows in some of the most ancient Greek musical structure of long and short pauses and repeating cycles rather than fixed ratios or measures.
Aqsaq(A'raj) 9/8
1---2---3---4---5---6---7---8---9---|
D T K D T T | 4+2+3 [MIDI]
1---2---3---4---5---6---7---8---9---|
Aqsaq Samai 10/8
1---2---3---4---5---6---7---8---9---0---|
D T K D T T | 5+5 [MIDI]
1---2---3---4---5---6---7---8---9---0---|
Rhythms of Yemen : "das'a" and "darb"
The rhythms of traditional music in Yemen are very much in the aqsaq
style. Meter and measure are less important than fitting the song.
Here are some examples -- in practice many variations are used in different
songs.
Das'a Kabir 11/8
1---2---3---4---5---6---7---8---9---0---1---|
D T T T | [MIDI]
1---2---3---4---5---6---7---8---9---0---1---|
Das'a Mutawassit and Saghir 7/8
1---2---3---4---5---6---7---|
D T D T | mutawassit [MIDI]
D T T | saghir (twice as fast) [MIDI]
1---2---3---4---5---6---7---|
Darb al-Wasta (Medium Wasta) and as-Sari' (fast) 4/4
1---2---3---4---5---6---7---8---|
D T T T T | wasta [MIDI]
D T T T D | wasta [MIDI]
D T D T T | as-sari' (faster) [MIDI]
1---2---3---4---5---6---7---8---|
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Awfar
An Awfar is one of the five fundamental patterns documented in a 17th c. Persian work. I don't know if it describes this rhythm as documented by Touma:
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Awfar 19/8
1---2---3---4---5---6---7---8---9---0---1---2---3---4---5---6---7---8---9---|
D D T T D D T T | 6+4+2+7 (notated by Touma in 19/4) [MIDI]
1---2---3---4---5---6---7---8---9---0---1---2---3---4---5---6---7---8---9---|
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Mukhammas
Mukhammas is a form of Persian verse. Presumably this rhythm accompanies a vocal or musical form of this poetry.
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Mukhammas 16/4
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---9---+---0---+---1---+---2---+---3---+---4---+---5---+---6---+---|
D D D T T T T D T T | 6+6+4 [MIDI]
1---+---2---+---3---+---4---+---5---+---6---+---7---+---8---+---9---+---0---+---1---+---2---+---3---+---4---+---5---+---6---+---|
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