Some rhythms played on the doumbek and in the music of the mediterranean

Nomenclature: ... What the heck is "Dtk"?

Couting time Time signatures: ... When does the next note sound"1e+a2e+a"

Breaking it down: ... How do I learn all this?

Drum songs, playing with people and making it enjoyable: ... How could I make a song

Each drum has its own voice, here are some of the drums that live with me.

1e+a2e+a
2/4 Ayyub D tkd t
D kkd G

1e+a2e+a
2/4 Karatchi D kkT D

1e+a2e+a
2/4 Falahi DgkgDkgk

1e+a2e+a
2/4 Tayir (Naqrah) D S

1e+a2e+a
2/4 Bayou D DD T moderate to slow
D kDD S

1e+a2e+a Rapid
2/4 Malfuf D t t
DkkSkkSk Try this one!
D tk kt delicate - spacey

1e+a2e+a
2/4 Saudi DkkDkkSk

1e+a2e+a
2/4 Wahida Sayrah D t t Wahida is a family of rhythms with one Doum
at the beginning

1,e,+,a,2,e,+,a,
1231231212312312 <-- Cheat and count like this!
2/4 Serto D kD ktkD kT ktk Similar to Malfuf, but with a different feel
 123123123123
3/4 WhirlingDervish D d D d D tk kDtktk

1e+a2e+a3e+a4e+a
4/4 Inverted Beledi D tkD D tkt tktk

1e+a2e+a3e+a4e+a
4/4 Gawazi Dk kD t (Egyptian)

1e+a2e+a3e+a4e+a
4/4 Pakistani Sufi D D D D tkt tk Moderate speed

1e+a2e+a3e+a4e+a "Heavy" slow to moderate

4/4 Beledi D D tkt D tkt tk contrasted with faster maqsum

1234
4/4 ChaChaCha Sdd just for fun!

1e+a2e+a3e+a4e+a wedding processional

4/4 Zaffah D tkt t D t D

1e+a2e+a3e+a4e+a
4/4 Bolero D kkt kktktkD t rumba

1e+a2e+a3e+a4e+a
4/4 Maqsum D T kkt D kkt kk
D D kkS D kkS

1e+a2e+a3e+a4e+a
4/4 Walking Maqsum D t k t D k t tk

1e+a2e+a3e+a4e+a
4/4 Nawari S D kkS D kkS

1e+a2e+a3e+a4e+a
4/4 Saidi D tk kD D tkt

1e+a2e+a3e+a4e+a
4/4 Serto D kD ktkD kT ktk

1+2+3+4+1+2+3+4+1+2+3+4+1+2+3+4
+ +
4/4 sword dance 4 D D t k k D t t k t k D D r k k D tktkk t k

1+2+3+4+5+1+2+3+4+5+
5/4 Farsee 5 D tk k Dt T tk kD t (corrected) Dur

1e+a2e+a3e+a4e+a
4/4 Wahidah 4 D tk kt tk kt k

1+2+3+4+5+
5/4 Slow Five D kt kttD

1+2+3+4+5+
5/4 Turkish five Dktkt

1+2+3+4+5+6+
6/8 Samai Darij D TkT D T
DTTDT
D r T DkT

1e+a2e+a3e+a4e+a5e+a6e+a
D tk tk Dk tk

123456123456123456123456
6/8 Morracan sufi D k k D k D k k Dk k
DkGkGk . these played in parts
DkkGkk .
DkGkGk .
DGkGkk .
DkkGkD .

1e+a2e+a3e+a4e+a5e+a6e+a
6/4 Chaka D tktkt tktkD tkt tkD t Dur
D kkD kkDkkkD kkD kkD D Daveed

1+2+3+4+5+6+7+
7/8 Dawr Hindi D TkT D tkT tk

1+2+3+4+5+6+7+
7/8 Sheelto D tktkD tkt tk

1+2+3+4+5+6+7+
7/8 Laaz D tk kD tkt t (corrected)
 1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a
8/4 Masmudi D D tktkt D tktkt tktkt tk "warring"

1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a
8/4 Chifteteli D tkt t tkdt tkD D t

1+2+3+4+5+6+7+8+
8/8 African Dance kDDkkD k DDkk D

1e+a2e+a3e+a4e+a5e+a6e+a7 8 9e+a
9/8 Kashlimah D tkt tkD t t t fast
D t D t t t

1+2+3+4+5+6+7+8+9+
9/8 Zabec D ttD t D ttD t t Ayube varient

1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a9e+a
D d tkt d tkt D D tkt D tkt t Maqsum varient

1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a9e+aAe+a
10/4 Samai D tktkt tktkt tkt t D D t t tktk t t

13/4 Muraba
1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a9e+aAe+aBe+aCe+aDe+a
D T tkt k D tkt k t k t k T tkt k T tkt k D tkt k

14/4 Muhajjar
1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a9e+aAe+aBe+aCe+aDe+aEe+a
D tkD tkD tkt k T tkt k D tkt k T tkt k T tkt k T tkT tk

123456789ABCDEF
123123123123123 <-- count 5 bars of three
15/4 fifteen D K T kttD T

123456789ABCDEF
123123123123123
15/4 Daveed 15 DkkTkkTkkDkTkTk
 Q: What's in a name? ( A note on naming conventions )
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.
For Arabic names I've tried to use a consistent transliteration that uses capital
consonants for emphatic sounds and double vowels for long vowels. If you are aware
of misspellings of the Arabic, please do let me know.
For Greek and Balkan names I've tried to use commonly accepted transliterations and
spellings.
In many cases the names that are used in practice are inconsistent. Folk musicians in
many of the cultures of these areas often do not even name rhythms -- they simply
know what rhythm goes with what song and play it.

Q: What's the deal with 4/4, 6/8? ( Time Signatures, Music Theory )
For a modern western percussionist (or musician considering rhythm) the most
important thing is how many beats there are to a measure. That is: modern musicians
break music down into repeating segments of the same length called "measures". The
measures are then broken down into a fixed number of possible divisions. When you
see that some song is in "6/8" -- that means that it is divided into measures that
contain six "eighth" notes. The whole modern world doesn't use this method (Balkan
folk musicians, for instance, have a pulse-length based system) and it was certainly
not used when much Middle Eastern music was formulated (more on this subject
below). I've tried to use time notations that would be familiar to western musicians
with some notation to show variations such as shortened segments.

Q: What is this "D t k" stuff? ( Notation )

If you read music you may want to check out another version of this page that uses
western musical notation. I assume you know how to hit the drum -- if not I will have
a section on that when I get time -- I do suggest, however, that if you are interested
in playing in the traditional style you find a teacher or a good player and get them to
give you a first lesson. This will hopefully save you from developing bad habits early.
In "traditional" Arabic Tabla/Darabuka, 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 preferred hand to strike with.
Note that it almost doesn't matter which hand you strike with as long as you are
making the right sound -- however by putting the accents on the dominant hand and
following the notation for suggested hands you will probably wind up with a more
"traditional sound" to your playing.
There are many forms of rhythm notation -- the most popular is standard western
musical notation. I find that difficult to read, so I use a sort of "timeline" form that
shows where the strikes occur during the measure. It uses a fixed-width font so that
each character is a fixed amount of time (a 1/16 note for most of the rhythms shown
below.)
Text Key:
D Dum (right hand clear low tone)
T Tek (right hand high crisp tone)
K Ka (left hand, sounds like Tek)
- space after note (sustain)
_ space during a rest
. shortened space
P Pop (Ka while deadening head w/ other hand cupped)
S Slap (loud or accented right hand, non-clear tone)
G Grab (or Stop, like Grab)
m Alternate "Dum" (left hand low tone, often muffled)
r finger roll
3 triplet
: inter-segment break
| inter-measure break
Note: Accented (fundamental) strikes are indicated with an UPPERCASE letter.
Most of the rhythms shown below are shown in simple (non-filled) form and then
various ways to fill the rhythm are shown.
Use a fixed width font to view the rhythms if you cut and paste them into another
document. Also if you have messed up your browser preferences so that it somehow
uses a non-fixed width font for the rhythms on this page, they are going to look
messed up.

Q: What difference does a "rest" make anyway?

To a drummer, I guess the answer could be "not much".
A "rest" in music is a space for a note that is not played.
On many other instruments a note can be sustained, and there is a significant
difference in playing "a note, a rest, and another note" and "a long note and then
another note". On a drum you don't have much choice about how long the sustain on
your "note" is, but the combinations of rests versus sustained notes may give some
indications about how the rhythm should be ornamented or filled. Therefore there are
a few rhythms that seem very different to melodists but somewhat the same for the
drummer.

Q: Where did all of this tradition come from? ( A Grossly Over-simplified Bit of
Percussion History )
(If you would like a deeper look into this: stay tuned -- I'm trying to get time to write
a better essay -- or start by reading any Arabic music book by Henry George Farmer.
And don't say I didn't warn you -- he's hard to read -- not because he is a bad writer,
but because his books are academic and full of facts and rather complex arguments
attempting to reconstruct a lot of Arabic musical history and theory.)
The earliest recorded history of music and rhythm we get from ancient Greece. Greek
writers on the subject were fairly technical, but it seems that not much about
rhythmic structure was formalized. We do know that they tended to use a system that
had two values for time (long and short) where the "long" was from one and a half to
two times longer than the short. Musical phrases were built of patterns of long and
short -- sometimes these patterns repeated.
We only know as much as we do about early Greek music because Middle Eastern
(arabic speaking) scholars studied and preserved (translated) early Greek writings.
The Arabic music/rhythm tradition begins in the caravan song -- the vocal music of the
nomad. Often a simple percussion instrument (for instance a stick) was used to beat
out accents. As the nomadic life was exchanged for urban life new instruments were
developed, poetic form matured and scholars studied earlier Greek works, a rhythmic
method developed with a basis in long and short syllables(durations) and accent
patterns based on poetic meter. As poems tended to repeat the notion of a larger
repeating rhythmic cycle emerged.
As the Arabic speaking empire expanded, matured and moved through the greater
Middle East and through North Africa into modern Spain and Portugal, it brought an
academic attitude toward music. Local traditions were integrated and new forms and
instruments developed. The music traditions of North Africa are still today heavily
influenced by Arabic empire roots rather than by the rest of mainland Africa. That is
the music is primarily monotonal and of simple rhythm. Polyrhythm and harmony are
almost non-existent in Middle Eastern music. That does not mean by any measure that
the music is simple. The "interesting" and unique aspects of each performance come
from the "ornamentation" of the tune by each instrument rather than from the
"merging" of various tones and times that is formed by harmony and polyrhythm. The
Arabic (and Mediterranean) music tradition tends to be based on the soloist or small
ensemble -- a natural outgrowth of folk groups and a nomadic bard tradition.
An interesting side note: Islamic tradition holds the musical arts in an odd dichotomy.
Many Islamic fundamentalists have held that music for pleasure (rather than to
worship or to declare the glory of Allah) is a sinful distraction -- however throughout
history Islamic rulers (and no doubt the general populace) tended to patronize the
musical arts.
Khalifates with courts in the Maghreb developed forms of stylized concerts that
formalized many new musical as well as rhythmic structures including a complex style
of concert called the "nuba". This presence in Europe, along with the cultural
interaction during the crusades, was responsible for many Middle Eastern instruments
and musical forms finding their way into Europe. For instance I've heard people argue
that the frame drum (extremely popular in North Africa throughout history) found it's
way into Ireland as the bodhran this way -- this is probably apocryphal I'm not aware
of anything but speculation to support the theory.
There are numerous problems for modern students attempting to study early Middle
Eastern music: Arabic writers tend to describe such things and music and dance rather
poetically (in terms of impressions and feelings and effect on audience) rather than
give much technical detail of form or technique. Apparently there was no standardized
musical notation -- though Middle Eastern scholars were impressed by western
notational methods (probably "discovered" by the Middle East around the time of the
crusades), these methods did not lend themselves well to representing the more
varied (in terms of tone and rhythm) music of the Middle East. Studying rhythmic
modes is even more difficult -- very little rhythmic notation exists, even for songs that
are otherwise quite well documented. Apparently either (as in many oral traditions)
the rhythmic modes were so well known scholars did not bother to document them or
they could find no good method for doing so.
Attempts were made by a number of Middle Eastern scholars to document their highly
oral musical traditions; unfortunately most of these documents are not available today
-- although there are many references to them in historical works. The Mongul
invasions of the 'Abbasid empire and sacking of such academic centers as Baghdad in
1258 destroyed most of the relevant academic documents (not to mention the
scholars!) Safi-al-Din, the author of two of the oldest surviving technical texts on
music was one of the few who barely escaped the purge and wound up working in the
Mongul court.
Additionally there is a long standing division between folk and academic (classical)
music in Arabic tradition -- I think most scholars found it beneath them to study (or at
least write about) folk music.
As the Turkish/Ottoman empire rose out of the remains of the Arabic Khalifates they
adopted the court music forms of the Arabs and also further developed the "marching
military band" that the Arabs had found useful in intimidating their enemies. These
were loud affairs consisting of many percussion instruments, horns, and loud reeds. In
this context loud outdoor instruments and music were developed, while the complex
court musical scene fostered more complex musical and rhythmic forms.
Modern Middle Eastern music is mishmash of local folk traditions, the remains of
ancient classical forms, and aspects of western popular and sometimes classical music.
As the Ottoman empire's influence gave way to western influence during the first part
of the 20th century, Egyptian composers developed a lot of music that is a fusion of
western classical form with middle eastern music. This movement was responsible for
bringing orchestra style ensembles and harmonic music to the middle eastern mix. In
terms of rhythmic elements it seems that a lot of diversity has been lost, odd or
complex rhythmic forms have been discarded or lost, in favor of more westernized,
even-counted measures. Modern (traditional) Persian music, for instance rarely has
rhythms that are not cycles of 2, 4, or 6 beats while historical records seem to indicate
that much longer cycles were common in the past.
Recently, during the rise of the oil economies (late 20th century), cheap labor brought
from Africa has brought a bit of central African polyrhythmic tradition to the Middle
East -- especially to areas in the Persian Gulf.
See below for more technical analysis of historical sources.

Q: So I want to learn some rhythms. Where do we start?

Let's start with a rhythm called "maqsuum". This rhythm is common and widespread --
you will find it in music throughout the Middle East and Mediterranean.
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 Ramzy 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. In parts of the Mahgreb (e.g.
Tunisia) this family of rhythms may be called "Duyek".
maqsuum 4/4
1-+-2-+-3-+-4-+-|
D-T-__T-D-__T-__| [MIDI]basic form
D-T-kkT-D-kkT-kk| [MIDI]filled
D-S-tkS-D-tkS-tk| [MIDI]accented

"baladii", which is a more folksy version of the basic Middle Eastern "maqsuum", is
characterized by the familiar two DUMs that lead the phrase. It is probably more
properly called "maSmuudii saghiir" ("small maSmuudii") since it has the "maSmuudii"
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 "baladii" (beledi, baladi, balady) among the American belly dance
community. The word "baladii" means "of the country" or "old fashion" and, I've
heard, implies (in Egypt) a bit of a "hick-ness" or folk-ness. This rhythm is very typical
(to the point of overuse) for modern 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 "maqsuum" is usually
preferred. "baladii" is usually played more slowly that a 4/4 "maqsuum".
baladii 4/4
1-+-2-+-3-+-4-+-|
D-D-__T-D-__T-__| [MIDI]basic form
D-D-tkT-D-tkT-tk| [MIDI]filled
D-D-t-S-D-t-S-tk| [MIDI]"Egyptian Classical"
An evenly filled version of a rhythm (such as the last baladii variation above) is often
called a "walking" rhythm due to its even stride.
"walking" maqsuum 4/4
1-+-2-+-3-+-4-+-|
D-T-k-T-D-k-T---| [MIDI]
D-T-k-T-D-k-T-tk| [MIDI]with the bridge
The couple of beats you are finding near the end of some of these variations are
known as a "bridge" or "chain" -- they are not basic to the rhythm, but are often
played as a pick up into the next measure.

"sayyidii" (saidii, saiidii) is another rhythm of the maqsuum family. A sayyidii is made
by doubling the middle DUM. It has a different flavor of fill and accent, is popular in
upper Egypt (remember "upper" Egypt is in the south). It is similar to baladii, usually
played fast, upbeat and powerfully. It is traditionally used for the Tahtib (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. This form may also be called
"baladii maqluub".
sayyidii 4/4
1-+-2-+-3-+-4-+-|
D-T-__D-D-__T-__| [MIDI]
D-T-tkD-D-tkT-tk| [MIDI]
D-tk-kD-D-tkT-tk| [MIDI]syncopated at the beginning
DkS-kkDDD-tkS-tk| [MIDI]syncopated with 3 DUMs

Yet another variation of a maqsum with different accent, Sombati is used during
taaqasiim or for vocal accompaniment.
sombati 4/4
1-+-2-+-3-+-4-+-|
D-__T-T-D-__T-__| [MIDI]
D-_kTkT-D-kkT-tk| [MIDI]

I've heard some Egyptians refer to the simple maqsuum as "waaHida wa niSf". Or
possibly "waaHida wa noSS" (half wahida) -- possibly because it (at least
theoretically) derives from the simple form of of the first half of "waaHida".
"waaHid" means "one" in Arabic. These rhythms are so called because they have a
single accent (DUM) at the beginning. A particular, "waaHida sayyAra" is also called
"Libi" by Egyptians due to its apparent modern popularity in Libya. "waaHida" is often
used during the vocal/legatto 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 where
the vocallist or instrumental soloist is improvising. The rhythm part accents the
cycle/measure boundary and follows the melody as the measure is stretched or
shortened.
The "waaHida", 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").
waaHida 4/4
1-+-2-+-3-+-4-+-|
D---____D---m---| [MIDI]sayyaara (slow)
D---____T---k---| [MIDI]
D---__T-____T---| [MIDI]saghiira
D-tktkT-tktkT-k-| [MIDI]"tawil"
D-Tk-kT-Tk-kT-k-| [MIDI]khafiif (fast)
"bambii" is a modern rhythm similar to a waaHida that has a 3 DUM sequence either
by finishing waaHida with 2 DUMs or rotating it so that the 3 are at the beginning.
bambii 4/4
1-+-2-+-3-+-4-+-|
D-Tk-kT-Tk-kD-D-| [MIDI]
D-D-D-Tk-kT-Tk-k| [MIDI]
Notice how the "saghiira" variation of "waaHida" leaves the 3rd beat empty. This
seems a strange accent pattern -- more on this below.

If you take this "waaHida" and finish with another common 4 beat segment (making
an 8),you have another rhythm, "ciftitelli", that is considered a Turkish or Greek
rhythm. It is presumably named after the Turkish instrument that has strings tuned an
octave apart.
It is, at its basis (if you cross your eyes a lot), similar to a maqsuum. It is usually 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 taaqasiim (melodic improvisation). Some drummers (confusingly) call
the rhythm "taa-qa-siim". It is very confusing because a very similar Arabic word "taq-
sim" means "split" or "divided" and can be used to refer generally to "maqsuum".
Egyptians tend to play simpler version of Ciftetelli than you might find in Turkey and
call it "waaHida taaqasiim" or maybe "waaHida kabiir".
ciftitelli (shiftaatellii) 8/4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-|
D---__T---__T---D---D---T---____| [MIDI]
D-tkt-T-tkD-T-tkD---D---Tktkt---| [MIDI]
Often rhythms are combined like this, or have versions that are half or twice as long.
The basic maqsuum played half as quickly is known as "maSmuudii".

The Masmoudi (I've reverted to the common transliteration) rhythm is

characteristically a joining of two 4-beat phrases. Sometimes it is called "Masmoudi
kabiir(big)" to differentiate it from a 4-beat rhythm (Masmoudi saghiir). Often the first
phrase has 2 leading beats. One of these versions is sometimes called "warring
masmoudi" -- supposedly it sounds like a man and woman arguing. A 3 leading beat
version is called "walking masmoudi" -- the even stride making it particularly suited
for marching. Masmoudi's are fairly common in belly dance music -- historically they
are also used in muwashashat -- they are particularly percussion-intense and make a
quite convenient and recognizable rhythm in which a dancer can accent a dance.
This, as I said, 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 (kabiir)
and the maqsums quick and nibble (khafiif).
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.
The Masmouda are one of the three main groups of Berbers in Morocco. They live west
of the Rif and Grand and Middle Atlas in Morocco. "Masmouda" may also be used to
refer to the region.
maSmuudii 8/4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-|
D---D---____T---D---____T---T---| [MIDI]
D---D---tktkT-tkD-tktkt-TktkT-tk| [MIDI]
D---D---D---T---D---____T---T---| [MIDI]
A maqsuum played as a 2 beat rhythm is called "falaahii". It is usually very fast and
often evenly filled. It is a common folk version used for dance ("falaah" is another
word for country-folk or peasant). It is common in upper Egypt. It is usually played
about twice as fast as a maqsum and therefore is often considered a 2 beat rhythm --
played more slowly (as a 4) it is the "walking maqsuum" discussed above.
falaahii 2/4
1-+-2-+-|
Dk-kD-k-| [MIDI]
DtktDktk| [MIDI]
DgkgDkgk| [MIDI]

Ayyuub is similar. It 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 (the rhythm is sometimes
called "Zar") -- toward the west (Morocco) these same sorts of trance dances are
generally done to a 6 beat rhythm. Ayyuub is also quite common at a faster (or much
faster) pace in belly dance music and music for folk line dances. Some say that Ayyuub
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.
ayyuub 2/4
1-+-2-+-|
D--kD-T-| [MIDI]
D-kkD-S-| [MIDI]
DktkDtkt| [MIDI]
bayou 2/4
1-+-2-+-|
D--DD-T-| [MIDI]
D-kDD-S-| [MIDI]
If you exchange the fundamental DUMs and TEKs in ayyuub you have another rhythm:
karAtshi (Karatchi). Karatchi is a fast 2/4. Note that the second 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. Hossam Ramzy
says of Karatchi: "From the word 'Karatchi' you can tell that the next rhythm is not
Egyptian. it's also very unusual because it starts with a TAK, which is the treble beat
rather than the DOM, which is the bass beat. However it is widely used in Egyptian
music and North African music."
karAtshi 2/4
1-+-2-+-|
T--kT-D-| [MIDI]
TktkT-D-| [MIDI]

Here are a couple of other simple 2 and 4 beat rhythms. "vox" or "foks" (could it be
"fox", and named after the "foxtrot"?) is 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.
foks/vox 2/4
1-+-2-+-|
D---T-K-| [MIDI]
"Jerk" is a 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 California) taught them the less syncopated (second) version below.
jerk/jaark 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]

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). Although
fundamentally these are 3-3-2 rhythms (like malfuf/waaHida saghiira) -- the feeling is
rather different. This family of rhythms (it's ancestors) and variations were probably
brought to Spain by Middle Eastern musicians (and gypsies?), adopted into Latin music
and probably re-introduced in various ways into modern Middle Eastern tunes.
bolero 4/4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-|
D---t3kkT---k---T---k---D---k---| [MIDI]
D---k-k-T---k-k-T-k-T-k-D---T---| [MIDI]
rumbaa/rhumba 2/4
1-+-2-+-3-+-4-+-|
D---____T---D---| [MIDI]
D-tkt-K-T-K-D-k-| [MIDI]
"zaffah" is a rhythm 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). It may also
be called "Murrabba Jaza'ira".
zaffah 4/4 (or 8/4)
1-+-2-+-3-+-4-+-|
D-tkt-t-D-t-t---| [MIDI]
D-tkt-t-D-t-t-tt| [MIDI]
D-tkt-t-D-t-D---| [MIDI]
D-D-D-t-tktkt-t-| [MIDI]Hossam Ramzy's "Big Zaffa"

Q: OK, I've got that. What's next? ( Middle Eastern rhythm theory and more rhythms )
Now that we've discussed a few rhythms, let's back up a bit.
So far I presented these rhythms in a very western way -- as evenly divided
"measures" of notes. Historically and traditionally (even now in some folk music
traditions) this sense of meter or measure is much less important. As I mentioned 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 standard length of measure. The Arabic tradition follows to some
extent, as does the modern Balkan music.
Sometimes interpreting a folk rhythm in our modern western musical context is a
challenge...
Modern Middle Eastern and Greek musicians tend to approximate the western method
of breaking down rhythms down by measures. The number of beats per measure
(whether played or not) is important. Measures are made up of groups of 2 or 3 beats
(or more) -- usually the first beat of these groups is the important one (that is the one
accented or played more fundamentally than the others). Historically the repeating
pattern was probably stressed and the sense of a fixed measure was probably weaker.
Certainly it is still true in much modern music that the western notation does not
capture the subtle timing and syncopation that might be important in a rhythm.

Recall the version of waaHida that has what we thought was a strange accent pattern
-- leaving out the accent right in the middle of the cycle.
waaHida saghiira 4/4
1-+-2-+-3-+-4-+-|
D---__T-____T---| [MIDI]
More traditionally this rhythm would be broken into segments of 2s and 3s. It would
be 3+3+2 in this case:
D---__T-____T---|
1-2-3 1-2-3 1-2 |
3 + 3 +2
You might see it written indicating the segment breaks:
D---__:T-____:T---|
There are a number of rhythms of this form where 8 beats are divided 3+3+2 to be
found in the music of the Middle East and Mediterranean. 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 "syrto" (which is the name of a particular line dance, and also
is used to describe the style of music). Syrto'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 "sa`udI" (Saudi) or "khaliijii" 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. "karaatshii" (Karatshi) -- 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 "malfuuf" or "laf" and is more filled and often accented -- most often with a
DUM only on 1. "malfuuf" is used to accompany line dances and also used in more
modern, popular music. Western musicians would count many of these rhythms a 2,
since the music tends to swing in and out finding accents on the first beat and then on
"everything else".
cocek 4/4=3+3+2
1-+-2-+-3-+-4-+-|
D---t-T---t-T-k-| [MIDI]
malfuuf 2/4=3+3+2
1-+-2-+-|
D--T--T-| [MIDI]
DkkTkkTk| [MIDI]
D-kT-kT-| [MIDI]
sa`udI 2/4=3+3+2
1-+-2-+-|
D--D--T-| [MIDI]
D-kD-kTk| [MIDI]
syrto 4/4=3+3+2
1-+-2-+-3-+-4-+-|
D---k-D---k-T-k-| [MIDI]
D---k-T---k-T-k-| [MIDI]

"Muwashshat" is a form of spoken/sung Arabic poetry. Ali Jihad Racy and Jack Logan,
Ph.D. in Arab Music : "Moorish Spain also witnessed the development of a literary-
musical form that utilized romantic subject matter and featured strophic texts with
refrains, in contrast to the classical Arabic qasidah, which followed a continuous flow
of lines or of couplets using a single poetical meter and a single rhyme ending. The
muwashshah form, which was utilized by major poets, also emerged as a musical form
and survived as such in North African cities and in the Levant, an area covering what is
known historically as greater Syria and Palestine. In this area, the muwashshah genre
became popular in Aleppo, Syria."
The rhythms below, dawr hindii, muHajjar, murabb`a, samaa'ii darij, samaa'ii
thaqiil,as well as maSmuudii, are used in muwashshat.
The samaa'ii (from an Arabic root "sma", which means to listen -- particularly to
music) 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 hindii" 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 hindii as "andalus" (e.g. Amar Andalus by Mokhtar Al
Said).
muHajjar 14/4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-0-+-1-+-2-+-3-+-4-+-|
D---D---D---____T---____D---____________T---____T---____| [MIDI]4+2+4+4
D---D---D---____T---____D---____T---____T---____T---T---| [MIDI]
D-tkD-tkD-tkt_k_T-tkt_k_D-tkt_k_T-tkt_k_T-tkt_k_T---T---| [MIDI]al-maSrii
2+4+4+2+2
murabb`a 13/4=3+4+2+2+2
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-0-+-1-+-2-+-3-+-|
D---T---T---D---__T---__T---T---____T---T---D---____| [MIDI]
D---T-tkt-k-D-tkT-k-t-k-T-k-T-tkt-k-T-tkT-k-D-tkt-k-| [MIDI]
samaa`ii ath-thaqiil (or Aghr aqSaaq samaa`ii) 10/4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-0-+-|
D-______T-__k-______D-__D-__T-______T-__| [MIDI]
D-__t-k-T-k-S-__t-k-D-__D-__S-__t-k-T-k-| [MIDI]
samaa`ii darij (or darj) 6/8 or 3/4
1-+-2-+-3-+-|
D-T-T-D-T-__| [MIDI]
D-TkT-D-T-__| [MIDI]
D---T-T-T-__| [MIDI]
"darj" generally refers to a 6 beat rhythm -- it can have many forms depending on
where you are. 6s tend to be a little straighter (non-syncopated) in Persia or can
swing or syncopate heavily in places like the Mahgreb. Sometimes, though, it refers to
a rhythm in an even multiple of 2 time (4 or 8) -- I think this is due to the fact that it is
hard to distinguish a 6 beat rhythm from a 2 beat rhythm that is filled in a syncopated
way.
darj 6/8
1-+-2-+-3-+-|
D-ktk-D-T---| [MIDI]
D-D-__T-T-__| [MIDI] Algeria
"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 hindii/"Andalus" 7/8
1-+-2-+-3-+-4-+-5-+-6-+-7-+-|
D---T---T---D-------T-------| [MIDI] 3+4
D---T-k-T-k-D---t-k-T---t-k-| [MIDI] filled

Rhythms that make use of segments(feet) of 3 are known as "aqsaaq" -- it means

"broken" or "limping". This type of rhythm is still part of a lot of traditional Middle
Eastern music. The term "aqsaaq" is used by Turkish musicians (and others) 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
mathematical structure.
Several of the rhythms mentioned have been aqsaaq rhythms, including "samaa'ii
thaqiil"; here are some more rhythms:
Karsilama means "face-to-face" in Turkish. This 9 beat rhythm is a popular belly dance
beat, and is also used in Turkish and Greek folk songs (e.g. "Rompi Rompi", "Mastika")
and modern Turkish "jazz". 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. This 9-beat aqsaaq rhythm is so
popular it is sometimes simple called "aqsaaq".
karsilama 9/8=2+2+2+3
1-+-2-+-3-+-4-+-5-|
D-__T-__D-__T-T-T-| [MIDI]
D-kkT-kkD-kkT-T-T-| [MIDI]
D-tkT-tkD-tktkT-T-| [MIDI]
Curcuna (JOOR-joon-nuh -- the Turkish "C" is a sound like an english "j" or "ch") is an
Armenian rhythm (I've also heard it in Afgani tunes -- often times nearly straightened
to a 6). It is a 10 rhythm being grouped 3+2+2+3. When played it can almost sound
like ayyuub (a 2) with just a bit more space in it -- or like a 6 beat rhythm. It is not
even -- it has a bit of syncopation which is hard to describe. If you think of it long-
short-short-long you'll probably get it. Be careful not to "straighten it out" into a 2 or a
6. I have sometimes heard the rhythm called "Nubar" -- probably because it is used for
the song "Nubar Nubar". Arabic speaking non-Armenians probably call it "jurjina"
which if you are Egyptian probably comes out "gurgina".
curcuna 10/8
1-+-2-+-3-+-4-+-5-+-|
D-__T-k-__D-__T-____| [MIDI]2+3+2+3
D---__T---D---T---__| [MIDI]5+5
There are basically two ways used to form a simple 7-beat rhythm: either 2+2+3 or
3+2+2. I already mentioned "dawr hindii" which is a 3+2+2. In Greece and Turkey
the 223's are generally known as "laz" or "laz bar" and the 322's as "kalamantiano"
(Kalamata is a port in south Greece). Both forms are used for various folk line dances
and songs.
laz 7/8=2+2+3
1-+-2-+-3-+-4-|
D---T---T-----| [MIDI]
D-k-D-k-D-k-k-| [MIDI]
kalamantiano 7/8=3+2+2
1-+-2-+-3-+-4-|
D-t-t-D-t-D-t-| [MIDI]
D-----T---T---| [MIDI]
D-ktk-D-k-S-k-| [MIDI]
D-tkt-D-tkT-t-| [MIDI]

Another Greek rhythm is called "zeybek" and is used in "zeymbekiko" music.

Zembekiko is a popular (traditional) 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" (this description is perhaps "tourist-ish").
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.
Apparently the Zeymbekiko is somewhat older than that -- Mantos Garlofis mentions
more about it in his letter to me.
This is a 9-beat rhythm with a completely different feel than the Karsilama we
discussed previously. It is grouped 4+4+1 and is usually much slower that the 9 of
Karsilama -- perhaps it sounds more like 8 very spacey measures of 2 or 4 beats plus a
half measure. As written here it is fundamentally two measures of a 4 beat phrase
(similar to the basic waHiidaa) followed by a single beat -- however, in practice it is
much more important that the beats match the music being played. The "extra beat"
can be used by a good dancer to add particularly noticeable accents to a dance
arrangement.
zeymbekiko/zeybek 9/4=4+4+1
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-|
D---t-k-D---t-k-D---t-k-D---t---t---| [MIDI]
Another family of Greek rhythms is the Tsamikos. They are approximately a 3 or 6-
beat rhythm and are not "even"; they feel "slow-quick-quick". It is important to match
the rhythm of the music -- perhaps sometimes they sound like "long 2s" or "short 7s".
tsamiko 6/8 or 3/4
1-+-2-+-3-+-4-+-5-+-6-+-|
D-----k-T---k---T---k---| [MIDI] maybe this
D-----k--T--k--T--k-----| [MIDI] or maybe like this
For more information about these rhythms and a bunch of other Greek rhythms look at
a letter that Manthos Garlofis wrote me about Greek rhythms.

Further east, the music of the Mahgreb (Morocco, Tunisia, and Andalusia) have been
greatly affected by Arabic influences. Modern Spain still has remnants of Arabic
influences despite a reaction to purge as much Moorish culture from the region as
possible after the Moors were driven from the country. The flamenco rhythm tradition
partially grew upon roots of Arabic tradition and the nuba is still considered primarily
"Andalusian" although it is also a part of the traditional classical music of most of
north Africa.
Here are some rhythms are traditionally used in this form of Andalusian musical
presentation known as "nubaat". Each section of a nuba contains some number of
songs that share one of these rhythms and are played without break (or sometimes
with a brief taaqasiim). BasiiT sort of 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. Quddaam, 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.
basiiT 6/4 or 12/8
1-+-2-+-3-+-4-+-5-+-6-+-|
D-_TD-T-T-TkT-TkT-____T-| [MIDI]
D-k-D-tkT-k-t-k-D-k-t-k-| [MIDI]
bTaa'iHii 8/4 or 8/8
1-+-2-+-3-+-4-+-|
D-_D-TDTD-T-DD-T| [MIDI]Morocco
D-_T__T-__D-T-__| [MIDI]Tunisia
qayIm wa niSf 8/4 or 8/8
1-+-2-+-3-+-4-+-|
D-D-T-_T-_T-T-__| [MIDI]
TkTkDtTktkDkDkt-| [MIDI]3+2+3 Touma writes it this way (rotated?)
quddaam 3/4 or 6/8
1-+-2-+-3-+-|
D-D-_TD-_T-_| [MIDI]
D-tkt-t-D-t-| [MIDI]Touma
D--kt-k-D--t| [MIDI]
inSiraaf 5/8
1-+-2-+-3-|
D-T-__D-__| [MIDI] 1st bar
DDT-__T-__| [MIDI] 2nd bar
T-T-D-_D-T| [MIDI]
khlaS or makhlaS 3/8
1-+-2-|
D-tT-_| [MIDI]
D-D-TT| [MIDI]Algeria

"sha'bia" is 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 6/8x2 and 12/8
1-+-2-+-3-+-4-+-5-+-6-+-|
T-K-T-K-D-K-T-K-T-K-D-K-| [MIDI]6 part (heart)
G---D---K-G---K-D-------| [MIDI]12 part (lung)
This is a bit "unnatural sounding" to the western ear since the most specific accent is
not at the start of the measure. Although even some Moroccan music seems to rotate
it so that the "one" is on a DUM.
Here is another version (according to Hassan Erraji and Salah Dawson-Miller):
sha'bia 6/8x2 and 12/8
1-+-2-+-3-+-4-+-5-+-6-+-|
T-t-t-T-D-t-T-t-t-T-D-t-| [MIDI]6 part (darabuka - heart)
====t===D=====t===t=D===| [MIDI]12 part (bendir - lung)

Persia
Apparently Persian music has lost a lot of the more varied rhythmic modes that are
mentioned in historical works written during the height of the Persian and Arabic
empires. Today most (fixed-rhythm) Persian rhythmic modes are fairly simple 2s, 4s,
6s, or 8s. In Persia there is still a (fading) classical tradition for music and song that
has no western sense of fixed measure but is based on a loose poetic meter.
Modern (and probably much older) Persian music focuses a lot on melodic and
rhythmic improvisation -- primarily on the stringed "tar". A tar is a skin covered string
instrument similar to (and probably the ancestor of) the oud. The Persian version of
the globet shaped drum is called a "Zarb", "Tombak", "Dombak" -- it is one of the most
subtle and interesting Middle Eastern percussion instruments -- it is probably fairly
modern as it starts to appear in artistic representations of musicians in the 19th
century. Zarbists make a wide variety of sounds using complex finger technique on the
head of the drum and also by tapping and scraping rings on the corrugated side of the
drum -- playing along with the stringed instruments during fixed measure sections --
and also improvising drum solos.
The instrument has become popular in recent years due to a few revolutionary players
in the middle part of the 20th century, including the esteemed Hosain Tehrani. For
more information on the tombak, tombak players, and Iranian music check out The
Tombak Network.
Awfar is one of the five fundamental patterns documented in a 17th century Persian
work. I don't know if it describes the rhythm as modernly notated:
awfar 19/8=6+4+2+7
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-0-|
D---D-------T---T---D---D-T---T-------| [MIDI]
D---D-------T---T---D---D-T---D-------| [MIDI]
Mukhammas is a form of five line Persian verse. Presumably this rhythm accompanies
a vocal or musical form of this poetry.
mukhammas 16/4=7+3+2+4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-0-+-1-+-2-+-3-+-4-+-5-+-6-+-7-+|
D---____D---____D---__T---__|T---T---____|T---T---|D---____________| [MIDI]

Persia / Sufi
Check out Peyman's comments on rhythms used on the daf(frame drum) in Persian
Sufi music at this site http://rhythmweb.com/frame/sufi_daf.htm.
Of course the rhythms can also be played on other instruments. Many of these
rhythms are rather syncopated in practice. It's very difficult to get the nuance or "feel"
of the rhythm just by reading the musical notation or by listening to an perfectly
counted MIDI sample (there are some live samples at the site above).
Daem 4
1-+-|
D-tt| [MIDI]
Garyan 14
1-+-2-+-3-+-4-|
D-_D-t-t-_D-t-| [MIDI]
Haddadi 8
1-+-2-+-3|
D-Dtt_tt | [MIDI]
HalGerten 16
1-+-2-+-3-+-4-+-|
D-ttD-t-T-ttD-t-| [MIDI]
HayAllah 8
1-+-2-+-|
D-Dtt-T-| [MIDI]
HayAllahAllah 10
1-+-2-+-3-|
D-kT-D-T--| [MIDI]
Maddahi 12
1-+-2-+-3-+-|
D-D-TtD-T---| [MIDI]
Saghghezi 12
1-+-2-+-3-+-|
DttDt-TttDt-| [MIDI]
ZekrEDovvom 16
1-+-2-+-3-+-4-+-|
D-ttD-ttD---T-T-| [MIDI]
The Balkans
Balkan musicians have a pulse-based system in which they will first categorize a
rhythm based on the number of strong beats or pulses in the cycle. Then particular
pulses that are accented and pulses that are longer or shorter than the rest are noted.
For instance a rhythm like "dajchovo", which is fundamentally the same as the 9 beat
karsilama, might be counted as a "4 with a long 4th". The fill TEKs at the end (since
they are not fundamental) are often syncopated.
dajchovo 9/4
1-+-2-+-3-+-4-+-5-|
D---T---D---T-----| [MIDI]
D---T---D---T-t-t-| [MIDI]
D---T---D---T-----
1 2 3 4(long)
Another "nine" called "Grantchasko" (used in the song "Sto Me Je Mile Em Drago"),
has a "long 2" (I think Grantchasko means "potter"):
grantchasko 9/4
1-+-2-+-3-+-4-+-5-|
D---D-----D---T---| [MIDI]
D---D---t-D---T-T-| [MIDI]
D---D-----D---T---,
1 2long 3 4
Or, a more complicated rhythm, "sandasko" is counted a "10 with a long 4 and long 8".
A western musician would probably consider this a 22 beat rhythm with a very slightly
shortened 9 and 11. A Bulgarian musician would probably break it into 2 phrases:
10=6+4 (or 22=13+9, if you are using a western system -- even so the rhythm sounds
22=9+9+4 to a western ear). Hard to explain, no?
sandasko 22/16
1-+-2-+-3-+-4-+-5-+-6-|
D-t-t-t-.t-t-D-t-.t-t-| [MIDI]
1 2 3 4+ 5 6 7 8+ 9 10
Here are a few more:
sedi donka 25/16=7+7+11
1-+-2-+-3-+-4-+-5-+-6-+-7|
D--t-t-D--t-t-D-t-t-.t-t-| [MIDI]
Break Sedi Donka down like this: two 7s=3+2+2 (like the Greek Kalamantiano) and
then an 11 or "5 with a long 3". Notice how you could wrap the rhythm around the
measure break and it would have 3 repeating segments followed by a bit of couple of
beats "at the end".
|<-real start |<- real end
t-t-D--t-t-D--t-t-D-t-t-.t-t-
1----- 1----- 1----- ***
|<-but it might sound like it starts here
be careful though, the placement of the beginning of the rhythm cycle is important to
fitting in to the music and ornamenting or accenting the rhythm. This type of pattern
(where it sounds to the western ear like the end of the cycle seems to wrap into the
beginning of the next) is common in Balkan rhythms.
The Balkan 7 that is phrased 2+2+3 (similar to the Greek "laz") is called
rachenitsa 7/8=2+2+3
1-+-2-+-3-+-4-|
D---D---D---k-| [MIDI]
D---T---T---k-| [MIDI]
D---k---D---k-| [MIDI]
The Balkan 7 that is phrased 3+2+2 (similar to the Greek "kalamentiano") may be
called "lesnoto" -- which is usually used for the name of a dance (or family of dances)
to a slow-quick-quick rhythm or "chetvorno".
lesnoto 7/8=3+2+3
1-+-2-+-3-+-4-|
D---k-T---T---| [MIDI]
D---k-D-kkT-tk| [MIDI]
However, just looking at the count will not give you a good indication of how to play
these rhythms -- they really have to fit the style of the music.
Many tunes are in measures of 2 with a tendency to use triplets to fill the rhythm -- so
they may sound or count more like 6s. We find this in a similar but probably unrelated
way in music in the Mahgreb.
pravo 2/4
1-+-2-+-|
D---T---| [MIDI]
or in the same time as above but filled as if in 6 (i.e. sounds like a 6 but is really a 2).
pravo 6/8
1-+-2-+-3-+-|
D-----T-----| [MIDI]
D---D-T---T-| [MIDI]filled
D---T-D---T-| [MIDI]filled
Other 2s are relatively straight and non-syncopated, such as "triti puti" which is
similar to "ayyuub":
triti puti 2/4
1-+-2-+-|
D-ttD-t-| [MIDI]
D-t-T--t| [MIDI]
D-ttD-t-| [MIDI]
D-t-T---| [MIDI]
Neda Voda is a song that was brought from Macedonia by a musician who heard this
song being played in a train station by the locals. This is the rhythm that goes with it.
It is rather pleasant 11 beat rhythm. Here is some notation I found on the web for a
dance http://www.sacredcircles.com/THEDANCE/HTML/DANCEPAG/NEDAVODA.HTM
neda voda 11/8
1-+-2-+-3-+-4-+-5-+-6-|
D-tkt-tkD-tkt-tkD-D---| [MIDI]

Yemen
Yemen has a strong academic music tradition. In a sort of cultural conservatism they
have retained much of the early Arabic music influences based on poetic meter. Here
are some rhythms from Yemen that are traditional.
das'a kabIr 11/8
1-+-2-+-3-+-4-+-5-+-6-|
D---T-----T-----T-----| [MIDI]
das'a mutawassit/medium das'a 7/8
1-+-2-+-3-+-4-|
D-T---D---T---| [MIDI]
das'a saghIr/fast or split das'a 7/8
1-+-2-+-3-+-4-|
D-----T---T---| [MIDI]
Darb al-wasta/"medium wasta" 4/4
1-+-2-+-3-+-4-+-|
D---T-T---T-T---| [MIDI]
D---T-T---T-D---| [MIDI]
Darb as-sarI'/"fast wasta" 4/4
1-+-2-+-3-+-4-+-|
D---T-D---T-T---| [MIDI]
Adoni might be considered a wasta:
"adoni" 4/4
1-+-2-+-3-+-4-+-|
D---K---K-D-D-K-| [MIDI]

abwanii (6/8=2+4)
DDD-T-T-T-T-,[MIDI]

`alaajjii(tunisia) (6/8)
D-__D-T-__T-,[MIDI]

`aliilaawii(iraq) (10/8)
D---T-T---D---T---T-,[MIDI]

`allaajii (6/8=3+3)
see: mudawwar al-Hawzii(Algeria/Tunisia)

`allaawii(algeria) (2/4)
D-DT_DT-,[MIDI]

`araj al-batii' (3/4)

see: yuruk as-samaa`ii

`araj as-samaa`ii (3/4)

see: yuruk as-samaa`ii

`araj at-turkii (5/8=2+3)

D-__T-__T-,[MIDI]
D-__T-__k-,[MIDI]
D-__T-____,[MIDI]

`araj at-turkii (5/8)

[' Turkish late 19th c.']
D---T---D-,[MIDI]

`arda al-awwal(kuwait) (3/4)

D---D---T---,[MIDI]

`arda ath-thaanii(kuwait) (6/8)

D-T-D-__T-__,[MIDI]

`arwaasii ath-thaanii(libya) (8/16)

DT-TDTT-,[MIDI]

`arwasii al-awwal(libya) (4/8)

D-T-TkTk,[MIDI]

`athamaanii al-awwal(libya) (3/8)

D-TkTk,[MIDI]

`athamaanii ath-thaanii(libya) (6/8)

D-T-T-T-T-__,[MIDI]

`awiis (11/8=3+4+4)
D-__T-D-__T-k-D-D-__T-,[MIDI]

`awiis (11/4=3+4+4)
D---____T---D---____T---k---D---D---____T---,[MIDI]

`awiis (11/4=3+3+5)
["Touma's version : rotated from others I've seen"]
T---D-------T---D-------T---T---D---D-------,[MIDI]
a`araj al-kabiir (18/8=3+3+2+2+4+4)
D-____T-____D-__D-T-D-T-T-__D-T-____,[MIDI]

a`araj samaa`ii (3/4)

see: daarij

aaghr aqsaaq samaa`ii (20/8=10+10)

D-______T-__k-______D-__D-__T-______T-__,[MIDI]
D-______T-__k-______D-______T-______T-__,[MIDI] Touma: without 3rd DUM
D-______t-__S-______D-__D-__S-______t-__,[MIDI]

aanadulus (7/8=4+3)
see: dawr al-hindii

abyaat(tunisia) (8/8)
D-T-D-T-T-T-T-T-,[MIDI] 3+2+3
D-TkD-T-D-T-T-T-,[MIDI] 4+4

adoni(yemen) (4/4)
D---K---K-D-D-K-,[MIDI]

afr mawlawii (9/4=4+2+3)

D---T---T---____D---D---T---T---____,[MIDI]
D---T-k-T---k---D-m-D---T---T---____,[MIDI]

aghr aqsaaq turkii (5/4=4+1?)

D---T---T---T---T-k-,[MIDI]

aghr aqsaq (9/4=4+2+3)

D---____T---k---D---____T---____T---,[MIDI]

aghr dawr hindii (7/4)

D---m-D---T---D---m-T---T---,[MIDI]

al fezzaanii ath-thaalath(libya/tunisia) (8/16=4+4)

DDTTDDTk,[MIDI]

al foks al-`arabii (2/8)

[' see also "vox"']
D-T-,[MIDI]

al jalwah(libya) (2/8)
see: al foks al-`arabii
al masa al-habiib(kuwait) (16/4=2+2+2+2+2+4+2)
DTD-DTD-T-T-DTD-_T-T__D-T-T-DTD-,[MIDI], format note: divided by 2

al muthallath(iraq) (8/8)
see: jubii(Iraq)

amrii(libya) (14/8=4+4+3+3)
D-T-T-TTD-T-T-TTT-T-T-D-T-T-,[MIDI]

antikrysto zeymbekiko(greek - smyrni) (9/8=2+3+2+2)

D---T-K-D---T-K-T---D---T-K-T---T---,[MIDI]
D--rT-K-D--rT-K-T-k-D--rT-K-T--rT-k-,[MIDI]

aptaliko zeymbekiko(greek - attalia asia minor) (9/8=3+6)

D---T---T---D-T---K-D---T---D-T---K-,[MIDI]
D---T-k-T---D-T---TkT-tkT-tkT-T---K-,[MIDI]
D-_kT-k-T-k-D-_kt-K-D-k-T-k-D-_kt-K-,[MIDI]

aqsaaq (9/8=2+2+2+3)
['Turkish/Greek dance']
D-__T-__D-__T-T-T-,[MIDI]
D-__T-__D-__T-T-__,[MIDI]
D-kkT-kkD-__T-T-T-,[MIDI]
D-tkD-tkT-tktkT-T-,[MIDI] Romany variation

aqsaaq al-ifraanjii (9/8=4+2+3)

['Turkish origin']
D-__T-T-D-__T-__T-,[MIDI]

aqsaaq araj (9/8)

[' Touma?']
D---T-K-D---T---T-,[MIDI] 4+2+3

aqsaaq at-turkii (5/4)

D---T---T-------T-__,[MIDI]

aqsaaq samaa`ii ath-thaqiil (20/8=10+10)

see: aaghr aqSaaq samaa`ii

aqsaaq(turkey/egypt) (9/8)
D-__T-k-D-D-T-__T-,[MIDI] 4+5
D-__T-__T-D-__T-__,[MIDI] 2+2+5
D-__D-__T-D-__T-T-,[MIDI] 2+2+5
arb`a w' al-`ashriin halbii (24/4)
D-T-|D-T-|D-DDT-|D-T-T-|D-T-T-|D-T-T-|D-T-T-T-|D-__T-T-
,[MIDI],=2+2+3+3+3+3+4+4, format note: divided by 2
D-T-D-T-|D-D-DTD-|T-T-D-T-|T-D-T-T-|D-T-T-T-|D-__T-T-,[MIDI],=4+4+4+4+4+4,
format note: divided by 2

arb`a wal-`ishruun (48/4)

D___|D_D_|T_D_|T_D_|T_T_|D_T_|D_T_|D___|D_DD|T___|T_T_|D___,[MIDI],
=4+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 4

arwal (2/4)
see: baruel

assamaarii(libya) (4/4)
D---T-T-D---T---,[MIDI]

awfar (19/4=6+4+2+7=2+2+2+2+2+2+3+4)
see: awfar al-maSrii

awfar al-masrii (19/4=6+4+2+7=2+2+2+2+2+2+3+4)

D-__D-__T-__T-__T-T-D-m-D-T-k-D-__T-T-,[MIDI], format note: divided by 2
D-__D-______T-__T-__D-__D-T-__D-______,[MIDI], format note: divided by 2
D-__D-______T-__T-__D-__D-T-__T-______,[MIDI] Touma, format note: divided by
2

awsat al-`arabii (13/8=2+4+2+5)

D-D-T-k-T-k-D-T-D-D-T-T-k-,[MIDI]

awsat al-maasuur (13/8=2+4+2+5)

see: awsaT al-`arabii

awsat at-turkii (13/4=3+2+1+3+4)

TkT-k-D-T-D-D-T-TkD-__D-__,[MIDI], format note: divided by 2

ayyuub(egypt) (4/8)
D-__D-T-,[MIDI]
D-TTD-T-,[MIDI]
TT-TD-T-,[MIDI]
__DDD-T-,[MIDI]
D-_TD-T-,[MIDI]

azdaad(libya) (5/8)
_DD-T-D-T-,[MIDI]
b'taa'ihii(algeria) (4/8)
D-TkT-T-,[MIDI]
D-TkD-T-,[MIDI]

bahrii sayafii (6/8=4+2)

DDD-T-T-D-T-,[MIDI]

bajja (3/8)
DDT-T-,[MIDI]
D-T-T-,[MIDI]

bajja(sudan) (4/8)
DDT-T-T-,[MIDI]

bajja(sudan) (3/4)
D---T-T-T-T-,[MIDI]

bakdaash haanah (14/4=3+4+3+4)

D-__D-D-__T-T-D-__T-D-__T-T-,[MIDI], format note: divided by 2

baladii (4/4)
D-D-__T-D-__T-__,[MIDI]
D-D-TTT-D-TTT-TT,[MIDI]
D-D-__D-D-TTT-TT,[MIDI]
D-D-TTTTD-__T---,[MIDI]
D-T---T-D---T---,[MIDI]

baladii al-maqluub (4/4)

D-T-__D-D-__T-__,[MIDI]
D-T-tkD-D-tkT-tk,[MIDI]
__T-__D-D-tkT-tk,[MIDI]
DDT-__D-D-__T-tk,[MIDI]
D-kt-kD-D-kkT-__,[MIDI]

ballasiiq ash-shaamii (16/4)

D-__T-|D-__T-|D-__T-T-|D-DDT-|D-T-T-,[MIDI],=3+3+4+3+3, format note: divided
by 2

ballos(greek - smyrni) (4/4)

see: syrto(Greek/Balkans)

bambii(egypt) (4/4)
[' modern dance rhythm (ala Hossam Ramzy)']
D-Tk-kT-Tk-kD-D-,[MIDI]
D-D-D-Tk-kT-Tk-k,[MIDI]

banchakiir (18/8=3+3+2+2+4+4)
see: a`araj al-kabiir

barifshaan at-turki (32/4)

D___|T_|D___|T_|D___|D_T_|D_|D_|T_S_|Tk|Tk,[MIDI],=4+2+4+2+4+4+2+2
+4+2+2, format note: divided by 4

baruel (2/4)
['"lively"']
D-_T__T-,[MIDI]
D-_T-_T-,[MIDI]
DkkTkkTk,[MIDI]
D-kT-kT-,[MIDI]

barwal (4/8)
D-TkTkTk,[MIDI]

barwal (8/8)
D-T-T-T-D-T-T-__,[MIDI]

bashraaf thaalath(libya) (10/4=3+3+2+2)

D---D---D---__T-D-D-T---D-D-T---T---T-__,[MIDI]

bashraaf thaanii(libya) (8/4=3+5)

D---__D-D-D-T---D-m-T---T---__T-,[MIDI]

bashraf(algeria) (4/4)
['nuba']
D-T---T-T---T---,[MIDI]

basiit(morocco) (12/8=4+4+4)
['nuba']
D-_TD-T-T-TkT-TkT-____T-,[MIDI]
D-k-D-tkT-k-t-k-D-k-t-k-,[MIDI]

bataa'ihii(algeria) (4/8)
D-T-D-_T,[MIDI]

bayou(egypt) (2/4)
['rAqs sharqYY solo']
D-_DD-T-,[MIDI]
D-kDD-S-,[MIDI]

bolero (4/4)
D-kkT-kkTkTkD-T-,[MIDI]
D-k3T-k-T-k-D-k-,[MIDI]

btaa'ihii (8/4=2+3+2+1)
['Touma']
T-k-T-k-D-tkT-k-T-k-D-k-T-k-D-k-,[MIDI]

btaa'ihii (16/4)
D-__T-T-|D-__T-T-|D-__|T-T-T-|__T-__,[MIDI],=4+4+2+3+3, format note: divided
by 2

btaa'ihii(morocco) (8/8=3+2+3)
D-_D-TDTD-T-DD-T,[MIDI]

btaa'ihii(tunisia) (8/8=3+2+3)
D-_T__T-__D-T-__,[MIDI]

btaa'ihii(tunisia) (4/4)
D-_T__T-__D-T-__,[MIDI]

buhalla(tunisia) (6/8)
D---__T---T-,[MIDI]

bunawwaara(tunisia) (8/8)
D---T---T-T---T-,[MIDI]

bunawwarat`aqrabii(tunisia) (2/4)
DT-_D_T-,[MIDI]

buziiqa(tunisia) (2/4)
TT-_D-__,[MIDI]

chaka (12/8=6+4+2)
see: shaakaa

chetvorno (7/8=3+2+2)
D---t-D---D---,[MIDI]

chochek (4/4=3+3+2)
see: cocek(Romany/Macedonia)
cocek(romany/macedonia) (4/4=3+3+2)
['should swing']
D---t-T---t-T-k-,[MIDI]

curcuna(armenia/turkey) (10/8)
see: jurjina(Eqypt/Afghani)

daarij (6/8)
D-T-T-D-T-__,[MIDI]
D-TTTTD-T-TT,[MIDI]
__T-T-D-D-T-,[MIDI]

daarij (3/4)
D---T-T-T-__,[MIDI]
D---____T---,[MIDI]

dahwah(iraq) (4/4)
D---T---D-T---__,[MIDI]

dajchovo(balkans) (9/8=2+2+2+3)
[' (or 9/16)']
D---T---D---T-----,[MIDI]
D---T---D---T---t-,[MIDI] last tek is often syncopated
D---T---D---T-T-t-,[MIDI] Macedonian/Turkish

daliib(sudan) (3/4)
D3D-Tk_TT-k-,[MIDI]

daluuka(sudan) (3/4)
D---T3T-T3T-,[MIDI] triplets empty in the middle?

darb al-fatih (176/4)

[' "conquering rhythm"']
D___|T_T_|D___|T_T_|T_k_|D___|T_T_|D___|T___|D___|T___|D___|T_k_|D_
__|T___|D___|T_k_|T_k_|D___|T_k_|T_k_|D___|T___|D___|D___|D___|T_k_|
T_k_|D___|T_k_|D_D_|T___|D_T_|D_D_|T___|T_k_|D_T_|T___|D_T_|T___|D_
T_|D_D_|T_S_|TkTk,[MIDI],=4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+
4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4, format note:
divided by 4

darb al-wasta(yemen) (4/4)

D---T-T---T-T---,[MIDI]
D---T-T---T-D---,[MIDI]
darb as-sarii'(yemen) (4/4)
D---T-D---T-T---,[MIDI]

darij al-awwal(algeria) (8/16)

DT-TD-T-,[MIDI]

darij ath-thaanii(algeria) (4/4)

D---T-T-D---T---,[MIDI]

darij(tunisia) (6/4)
D---D---T---T---T---T-T-,[MIDI]

darij(tunisia) (24/4)
D_T_|D_T_|TTTTT_|T_|T___|T_T_,[MIDI],=4+4+6+2+4+4, format note: divided by
4

darj (4/4)
['Touma (perhaps flawed)']
__D---D---T-T---,[MIDI]

darj (6/8)
['Souhail Kaspar']
D-ktk-D-T---,[MIDI]

darj(algeria) (6/8)
D-D-__T-T-__,[MIDI]

darj(morocco) (8/8=4+4)
D-D-TT-TD-D-TT-T,[MIDI] second half varies in ornament

das'a kabiir(yemen) (11/8)

D---T-----T-----T-----,[MIDI]

das'a mutawassit?(yemen) (7/8)

['medium']
D-T---D---T---,[MIDI]

das'a saghiir(yemen) (7/8)

['fast']
D-----T---T---,[MIDI]

dawaarii (10/8=4+6)
T-D---T-D---T-T-D-__,[MIDI]
dawr al-hindii (7/8=3+4)
D-T-k-D-__T-__,[MIDI]
D-TkTkD-TkT-Tk,[MIDI]
D-TkTkD---T---,[MIDI]
D-__T-D-__T-T-,[MIDI]
D-__t-D-__T-__,[MIDI]

dawr al-hindii (7/8=4+3)

D-T-D-T-D-D-T-,[MIDI]

dawr al-kabiir halbii (28/4)

D-T-|D-DDT-T-|D-T-T-|DDT-__|T-__T-__|T-T-|D-__T-T-|D-__T-__|T-T-
,[MIDI],=2+4+3+3+4+2+4+4+2, format note: divided by 2
D-T-D-DD|T-T-D-T-|T-__T-__|T-T-D-__|T-T-D-__|T-__T-T-|D-__T-T-,[MIDI]
Syria,=4+4+4+4+4+4+4, format note: divided by 2

dawr al-kabiir turkii (28/4)

D-__|D-__T-__|D-T-TkD-|T-__T-__|T-__|D-__D-__|T-__S-__|T-k-T-k-
,[MIDI],=2+4+4+4+2+4+4+4, format note: divided by 2
D-__|D-__T-__|D-__TTTk|T-______|T-______|D-__|T-__S-__|T-k-T-k-
,[MIDI],=2+4+4+4+4+2+4+4, format note: divided by 2

dawr halbii (12/4=4+4+2+2)

D---____T---k---D---____T---k---D---D---D---____,[MIDI]

dawr rawaan halbii (13/4=3+4+4+2)

D-T-T-D-__D-D-T-__T-__D-__,[MIDI], format note: divided by 2

dawr rawaan mawlawii (14/8=3+4+3+4)

D-____T-__T-__D-D-m-T-__T-__,[MIDI]
D-T-k-D-m-T-k-DmD-m-T-k-T-k-,[MIDI]

dawr rawaan sharqii (13/4=3+4+4+2)

D-T-T-DT-TD-T-DT-TD-T-DT-T,[MIDI], format note: divided by 2

dawr rawaan turkii (28/4)

DT|D_T_|DT|D_T_|T_|T_|D_|DDT_|D_T_|T_,[MIDI],=2+4+2+4+2+2+2+4+4+2,
format note: divided by 4

dawr rawaan turkii awwal (13/4=3+2+4+4)

D-T-k-D-DDT-__T-__T-T-D-__,[MIDI], format note: divided by 2

dawr rawaan turkii thaani (13/4=2.5+4+2+2.5+2)

D-__DD-__T-__D-__DT-T-T-T-,[MIDI], format note: divided by 2
dharaafaat(widespread arabic) (13/8=3+3+4+3)
see: Zaraafaat

djerbi(tunisia) (2/4)
see: baruel

dkhuul al-barwal(tunisia) (4/4)

D-D-____T---T-T-,[MIDI] ??

duuyek (4/4)
D-t---t-D---T---,[MIDI]
D-t-__t-D---T---,[MIDI]

faaht al-warash (10/4=2+4+4)

D---T---D---m---T---T---D---m---T-k-T-k-,[MIDI]

faakhitii (20/8)
['13th c. : SafI al-DIn; KitAb al-adwAr; also RisAla al-sharafiyya ']
T___T_T___T___T_T___,[MIDI]
T_T___T___T_T___T___,[MIDI]
T_Ttt_Ttt_T_Ttt_Ttt_,[MIDI] RisAla al-sharafiyya

faakhitii (28/8)
['RisAla al-sharafiyya ']
T_T___T___T___T_T___T___T___,[MIDI] RisAla al-sharafiyya
T_Ttt_Ttt_Ttt_T_Ttt_Ttt_Ttt_,[MIDI] RisAla al-sharafiyy

faakht (20/4)
D-T-|D-DDT-__|T-__|T-T-|D-__T-T-|D-__T-__|T-T-,[MIDI],=2+4+2+2+4+4+2,
format note: divided by 2
D-______|D-__D-__|T-__T-__|D-______|T-__T-__,[MIDI] Egypt,=4+4+4+4+4,
format note: divided by 2

faakht' al-`arabii (20/4)

D-T-|D-DD|T-__|T-__|T-T-|D-__|T-T-|D-__|T-__|T-T-
,[MIDI],=2+2+2+2+2+2+2+2+2+2, format note: divided by 2
D-__|D-__|T-__|T-__|D-_T-_T-|T-__|T-T-|D-
______,[MIDI],=2+2+2+2+4+2+2+4, format note: divided by 2

faakht' at-turkii (20/4)

D-m-|D-D-|T-k-|T-k-|T-k-|D-__|T-__S-__|T-k-T-k-,[MIDI],=2+2+2+2+2+2+4+4,
format note: divided by 2
faarsii (5/4)
['?']
D---T-k-T---D---t---,[MIDI]

faarsiia(libya) (3/4)
['Persian origins']
__T-T---T---,[MIDI]

fajjar (11/8=3+8)
D---T-D---T-T-D-D-T---,[MIDI]

fajjarii makhlaafii (6/8=3+3)

see: yuruuk samaa`ii

fakartii (15/4=4+2+3+3+3)
D-T-T-__D-__D-D-__D-____T-____,[MIDI], format note: divided by 2

fakirah (15/8=3+3+2+2+5)
D-____T-____D-__D-T-D-__T-__T-,[MIDI]

falaahii(egypt) (2/4)
DT_TD_T_,[MIDI]
DT_TDT_T,[MIDI]
DTkTDkTk,[MIDI]

fan bahrii(kuwait) (8/4=3+2+3)

D---________D---____T---T---D---,[MIDI]

fan hasaawii(kuwait) (4/8)

D-D-__T-,[MIDI]

fan najaddii(kuwait) (6/4=3+3)

D---D---D---T---T---____,[MIDI]

far`a (32/4)
D___|T_k_|D___|T___|D_T_|Tk|D_|T_S_|TkTk,[MIDI],=4+4+4+4+4+2+2+4+4,
format note: divided by 4

far`a turkii(syria) (32/4)

see: far`a

farankchiin at-turkii(turkey/syria) (24/4)

D_|D___|D_|D___|T_k_|T_k_|Tk|Tk,[MIDI],=2+4+2+4+4+4+2+2, format note:
divided by 4
fast waahida (4/4)
see: waaHida khafiif

fast wasta (4/4)

see: Darb as-sarii'(Yemen)

fezzaani al-baladii(tunisia) (4/4)

see: fezzaani al-beduui(Tunisia)

fezzaani al-beduui(tunisia) (4/4)

D-T---T-D-__T---,[MIDI]

fezzaanii al-awwal(libya) (4/4)

['national rhythm of Tunisia?']
D-T---T-D-T-T---,[MIDI]

fezzaanii al-liibii(libya/tunisia) (4/4)

T---t-k-D-__t-__,[MIDI]

fezzaanii ath-thaanii(libya/tunisia) (8/8=4+4)

D-D---T-__T-T-__,[MIDI]

fezzaanii(tunisia) (4/4)
[' dance music']
D-T---T---T-T---,[MIDI]
D-T-T-T-D-T-T-Tk,[MIDI]

first thaqiil (8/4)

['Safi-al-Din 13th c.']
D-----D-----D-------D---D-------,[MIDI]

gankino (11/8)
D---T---D---k-D---T---,[MIDI]
D-k-D-k-T---k-D-k-T---,[MIDI]

ghiita(tunisia) (6/8)
D-D-S---T-T-,[MIDI]
D-D-T-__T-T-,[MIDI]

greek tsifteteli(greek) (4/4)

D-kt-kt-D---tk-_,[MIDI] traditional
Ddk--kt-D-tkt---,[MIDI] modern
DrtktktrDkDktrtk,[MIDI] modern
gubbaahii (2/4)
['sha`bI music']
T-_TT-D-,[MIDI]

gumbahii(algeria) (2/4)
see: gubbaahii

haawii (128/4)
D-______|T-__k-__|D-____T-|TkD-T-__|T-__D-__|D-__T-k-|T-k-T-k-|T-k-D-__|D-
__T-k-|T-k-T-k-|T-k-D-T-|T-k-|D-T-T-__|D-__D-__|D-__T-__k-__|T-__k-__|D-
______|T-__k-__|D-__D-__|T-__T-k-|D-__T-__|T-k-|D-__|T-__S-__|T-k-T-k-|D-
__T-__|T-__T-__|D-__T-__|T-__T-__|D-__T-__|D-__D-__|T-__S-__|T-k-T-k-
,[MIDI],=4+4+4+4+4+4+4+4+4+4+4+2+4+4+6+4+4+4+4+4+4+2+2+4+4+4+4
+4+4+4+4+4+4, format note: divided by 2

haddaadii(kuwait) (12/8=3+3+3+3)
D-____T-____T-_T-TD-D-T-,[MIDI]
D-____T-_T-_D-D-T-D-T-__,[MIDI]

haddaawii (12/8)
____T-__D-____T-__T-D-__,[MIDI] 4+3+3+2
____T-T-D-____T-__T-D-__,[MIDI] 3+4+3+2
____T-T-D-__D-T-__T-D-__,[MIDI] 3+4+3+2
D-__T-__D-____T-__T-D-__,[MIDI] 4+3+3+2

hafa(libya) (4/4)
D---T-T-TD-_T---,[MIDI]

hajj`a (2/4)
D---T-T-,[MIDI]

hajjaawii(libya) (4/4)
D-T-D-T-T---T---,[MIDI]

halla(tunisia) (6/8)
T-D-__T-T-__,[MIDI]

harbii al-khafiif(sudan) (4/8)

D-T-T-T-,[MIDI]

harbii ath-thaqiil(sudan) (6/8=3+3)

D-D-D-T-T-T-,[MIDI]
harbii(tunisia) (4/4)
D-__T-D-T-__T-T-,[MIDI]

hasajja(egypt/iraq) (6/8)
D-D-T-D-T-T-,[MIDI]

hazaj (6/8)
['13th c. : SafI al-DIn; KitAb al-adwAr']
Ttt_|T_,[MIDI],=1+0
T___|T_,[MIDI] al-aSl,=1+0
Tt_|Tt_,[MIDI] RisAla al-sharafiyya ,=0+0

hazaj (12/8)
['13th c. : SafI al-DIn; KitAb al-adwAr']
Ttt_|Tt_|Tt_|T_,[MIDI] ,=1+0+0+0
T___|___|_T_|__,[MIDI] ,=1+0+0+0

hazaj al-`arabii (22/4)

D-T-|D-DDT-T-|D-T-T-__|T-T-|D-T-|D-T-T-T-|D-__T-T-,[MIDI],=2+4+4+2+2+4+4,
format note: divided by 2
D-__|D-D-T-__|D-D-T-__|TkTk|D-T-__|D-__D-D-|T-
TkTk,[MIDI],=2+4+4+2+3+4+3, format note: divided by 2

hazaj at-turkii (44/4)

D___|D_D_|T___|D_D_|T___|TkTk|D_|T___|D___|D_|T_S_|TkTk,[MIDI],=4+4+
4+4+4+4+2+4+4+2+4+4, format note: divided by 4

hiiwa (3/4)
D---T-T-T---,[MIDI]

hiiwah(iraq) (6/8)
D-D---T-T---,[MIDI]
D-D-D-T-T-T-,[MIDI]

hrub(tunisia) (3/8)
see: silsila(Tunisia)

insiraaf (5/8)
[' penultimate nuba phase before khlaS']
D-T-__D-__,[MIDI] 1st bar
DDT-__T-__,[MIDI] 2nd bar
T-T-D-_D-T,[MIDI]

istabadaa(saudi) (7/8)
D-T---T---T---,[MIDI]

jabaalii(saudi) (4/8)
see: b'Taa'iHii(Algeria)

jaluuha(libya) (2/4)
see: sariir

januubi(qatar) (4/4)
D---D---T---T---,[MIDI]

jerbi(tunisia) (4/4)
[' dance rhythm; Isle of Jerba']
D-__T-D-T-__T-T-,[MIDI]

jerk(egypt/nubia) (4/4)
[' modern Nubian dance rhythm']
D---T---DD--T---,[MIDI]
D-kkT-tkDDtkT-tk,[MIDI]
D---T---D-D-T---,[MIDI] Souhail Kaspar
D-tkG-tkDkDkG-tk,[MIDI] Souhail Kaspar

jiftah (6/4=2+2+2)
D---T---D---D-D-T-k-T-k-,[MIDI]

jiftah duyuk turkii(turkey) (16/4)

D-__|T-______|T-__|D-__D-__|T-__T-k-,[MIDI],=2+4+2+4+4, format note:
divided by 2

jiftah duyuk(turkey) (16/4)

D-__|T-T-|D-__T-T-|D-T-|D-DDT-|D-T-k-,[MIDI],=2+2+4+2+3+3, format note:
divided by 2

jiib(qatar) (8/4=3+5)
T-T-D---T---T---T---T---________,[MIDI]

jiirak (4/4)
D---T---D-D-T---,[MIDI]
D---TkTkD-D-TkTk,[MIDI]
D-D-T-TkD-D-T---,[MIDI]

jubii(iraq) (8/8)
D-D-D-T-D-__T-T-,[MIDI]
D---____D-D-D-T-,[MIDI]
jurjina(eqypt/afghani) (10/8)
D-__T-k-__D-__T-____,[MIDI] 2+3+2+3
D---__T---D---T---__,[MIDI] 5+5

juurjina (10/16)
D-tT-D-T-t,[MIDI]

kalamantiano(greece) (7/8=3+2+2)
[' Kalamata is a port in Southern Greece']
D-t-t-D-t-D-t-,[MIDI]
D-----T---T---,[MIDI]
D-ktk-D-k-S-k-,[MIDI]
D-tkt-D-tkT-t-,[MIDI]

kamilieriko zeymbekiko(greek) (9/4=2+2+2+3)

D---t-k-D---t-k-D---t-k-D---t---t---,[MIDI]

karaatshi(egypt) (2/4)
['']
D-T-TkTk,[MIDI]

karaatshi(egypt) (2/4)
T-__T-D-,[MIDI]
T-_kT-D-,[MIDI]
TktkT-D-,[MIDI]
D-T-__T-,[MIDI]
D-T-TTT-,[MIDI]
D-T-TTTT,[MIDI]

karaatshii(egypt) (2/4)
see: gubbaahii

karsilama(turkey) (9/8=2+2+2+3)
see: aqSaaq

khafiif (12/4=4+4+4)
D---____T---T---T---____T---____T---____________,[MIDI]

khafiif al-`arabii(syria) (32/4)

D-__T-T-|D-__T-T-|D-__T-T-|D-__T-T-|D-__T-T-|D-DDT-T-|D-T-T-|D-T-|D-T-T-
,[MIDI],=4+4+4+4+4+4+3+2+3, format note: divided by 2

khafiif al-ramal (6/8)

['13th c. : SafI al-DIn; KitAb al-adwAr; also RisAla al-sharafiyya ']
T_|Ttt_,[MIDI] ,=0+1

khafiif al-ramal (12/8)

['RisAla al-sharafiyya ']
T_|Ttt_|T_|Ttt_,[MIDI] ,=0+1+0+1

khafiif al-ramal (10/8)

['13th c. : SafI al-DIn; KitAb al-adwAr']
T_|Tt_|T_|Tt_,[MIDI] ,=0+0+0+0
T_|___|__|T__,[MIDI] al-aSl,=0+0+0+0

khafiif al-thaqiil (16/8=2+2+2+2+2+2+2+2)

['13th c. : SafI al-DIn; KitAb al-adwAr']
T_|Tt|T_|Tt|T_|Tt|T_|Tt,[MIDI]

khafiif al-thaqiil (2/4)

['13th c. : SafI al-DIn; KitAb al-adwAr']
T_|Tt,[MIDI] ,=0+0
Ttt_,[MIDI] RisAla al-sharafiyya

khafiif at-turkii (32/4)

D-T-T-__|D-T-T-__|D-__T-k-|D-T-T-__|D-__T-k-|D-D-T-Tk|D-T-Tk|D-T-S-
|TkTk,[MIDI],=4+4+4+4+4+4+3+3+2, format note: divided by 2

khafiif(tunisia) (6/4)
D---____T---T---T---____,[MIDI]

khalaas al-awwal(algeria) (6/8)

D---D-D---T-,[MIDI]

khalaas ath-thaanii (3/4)

['Andalusian music']
D---T---T-T-,[MIDI]

khaliijii (2/4)
see: sa`udii

khamaari(kuwait) (16/8=6+4+4+2)
D-__D-D-D-__D-D-D-__T-__T-__D-D-,[MIDI]

khamaarii (4/8)
D-TkT-T-,[MIDI]
khamriia(qatar) (3/4)
D---D---T-T-,[MIDI]

khatafa(qatar) (16/8=5+2+4+5)
D-T-D-D-T-D-__D-D-D-T-D-D-D-T-__,[MIDI]

khatiim(tunisia) (3/4)
D---T---____,[MIDI]

khatim al-musaddar(tunisia) (6/8=1+4+1)

D-T-T-T-T-T-,[MIDI]

khatim(tunisia) (6/8)
D-T-T-T-T-T-,[MIDI]

khawash ranak (17/8=3+2+4+3+5)

D-__T-D-__D-D-T-__T-T-__D-D-T-__T-,[MIDI]

khlas (3/8)
['nuba rhythm']
D-tT-_,[MIDI]
D-D-TT,[MIDI] Algeria

kopanica(bulgaria/balkans) (11/8)
see: gankino

kopanitsa(bulgaria/balkans) (11/8)
see: gankino

laf(egypt/levant) (2/4)
D-_T-_T-,[MIDI]
DD_T-_T-,[MIDI]
D-_T-_TT,[MIDI]

lamaawiismii (15/8=3+2+3+4+3)
D-T-T-D-__D-T-__D-T-T-__D-T-__,[MIDI]

lanak al-faahta (10/8=2+3+3+2)

D-__T-k-__D-T-__T-k-,[MIDI]
D-__T-____D-T-__T-k-,[MIDI]

latin (2/4)
D-T-T-TD,[MIDI]
laz bar(greece) (7/8=3+2+2)
see: laz(Greece)

laz(greece) (7/8=3+2+2)
D---T---T-----,[MIDI]
D-k-D-k-D-k-k-,[MIDI]

laziko(greece) (7/8=3+2+2)
see: laz(Greece)

lesnoto(macedonia) (7/8=3+2+2)
D-----T---T---,[MIDI]

makhaalfii(qatar) (4/4)
D---D---T-T-T-__,[MIDI]

makhbuut(sudan) (3/4)
D-D-T---T---,[MIDI]

makhlas(iraq) (2/4)
D---TT-T,[MIDI]

makhlas(morocco) (3/8)
see: khlaS

makhluf(kuwait) (6/8)
D-D-__T-__T-,[MIDI]

malfuuf (2/4)
see: baruel

mannuubiyya(tunisia) (12/8)
D---T---T-T---D---T---T-,[MIDI]

mantiliatos(thrace/trapezounta/trabzon) (7/8=4+3)
['kerchief dance; very fast']
D---t-k-t-t-k-,[MIDI]
D-tkt-k-t-t-k-,[MIDI]

maqsuum (4/4)
D-T-__T-D-__T-__,[MIDI]
D-T-tkT-D-tkT-tk,[MIDI]
D---T---T-D-T---,[MIDI]
T-T-T-D-T-T-T-DD,[MIDI]
__D---T-D---T---,[MIDI]
D-T-k-T-D-k-T-tk,[MIDI] "walking"

marb`a(libya) (6/8)
D-__D-T-__T-,[MIDI]

marduum(sudan) (2/4)
D-_TT---,[MIDI]

marras`a ash-shaamii (19/8=4+3+4+6+2)

D---T-T-D-D-T-D---T-T-D---T---T---T-T-,[MIDI] 4+5+4+6 Touma?
D-D-T-T-D-DDT-D-__T-T-D-__T-__T-__T-T-,[MIDI]
__D-T-T-D-DDT-D-__T-T-D-__T-__T-__T-T-,[MIDI]

mars`a (12/4=3+2+3+4)
D---T---T---D---T---D---T---T---D---m---T-k-T-k-,[MIDI]

mashad(tunisia) (8/8=5+3)
D-T-__T-__T-T-__,[MIDI]

masmuudi as-saghiir (4/4)

D-D---T-D---T-__,[MIDI]

masmuudii (8/4)
[' the Masmouda are Berbers who live west of the Rif and Grand and Middle Atlas in
Morocco']
D---D---____T---D---____T---____,[MIDI]

masmuudii al-kabiir (8/4=4+4)

D---D---____T---D---____T---T---,[MIDI]
D---D---t-k-T-k-D-tktkt-TktkT-t-,[MIDI]

mathalwat(saudi) (4/8)
D-_TT-T-,[MIDI]

medium wasta (4/4)

see: Darb al-wasta(Yemen)

moroccan 6 (6/8)
D-k-k-S-k-k-,[MIDI]
D-k-S-k-S-k-,[MIDI]

mudaa`af al-ramal (24/8)

['13th c. : SafI al-DIn; RisAla al-sharafiyya ']
Ttt_T_Ttt_T_Ttt_T_Ttt_T_,[MIDI]
T_________________T_____,[MIDI] al-aSl

mudawwar (12/4=4+2+4+2)
D---____T---____D---D---D---____________T---____,[MIDI]

mudawwar al-`arabii (6/4=2+4)

D---T---D---D---____T---,[MIDI]

mudawwar al-`arabii (6/4)

D---D---____T---D---T---,[MIDI]

mudawwar al-halbii (12/4=4+4+4)

D---____T---k---D---____T---k---D---D---D---____,[MIDI]

mudawwar al-hawzii(algeria/tunisia) (6/8=3+3)

['Algerian wedding']
D-__D-T-__T-,[MIDI]
D-TkD-T-TkTk,[MIDI]

mudawwar al-masrii (12/4=4+2+4+2)

see: mudawwar

mudawwar ash-shaamii (10/4=4+2+4)

D---____T---____D---D---D---____T---____,[MIDI]

mudawwar ash-shaamii (12/4=4+4+4)

D---____D---____D---D---D---____T---k---T---k---,[MIDI]

mudawwar at-turkii (12/4=4+4+4)

D---____T---____D---____T---____D---D---D---____,[MIDI]

mudawwar rubaa`ii (14/4=2+4+4+2+2)

see: muHajjar al-maSrii

muhajjar (14/4=4+2+4+4)
['muHajjar is "stone mosaic"']
D-D-D-__T-__D-______T-__T-__,[MIDI], format note: divided by 2
D-D-D-__T-__D-_T-_T-T-__T-T-,[MIDI], format note: divided by 2

muhajjar al-`arabii (14/4=4+4+2+3+3)

D-D-D-__T-T-__T-__T-T-__T-T-,[MIDI], format note: divided by 2

muhajjar al-masrii (14/4=2+4+4+2+2)

D-D-D-__T-__D-__T-__T-__T-T-,[MIDI], format note: divided by 2
D-tkD-tkD-tkt_k_T-tkt_k_D-tkt_k_T-tkt_k_T-tkt_k_T---T---,[MIDI]

muhajjar al-musaddar (28/4)

D_|D_|D___|T___|D__|T__|T__|T__|T_T_,[MIDI],=2+2+4+4+3+3+3+3+4,
format note: divided by 4
D_D_|D___|T___|D_T_|__T_|T___|T_T_,[MIDI],=4+4+4+4+4+4+4, format note:
divided by 4

muhajjar dawlaab maqluub (17/4)

D-D-D-__|D-T-T-|D-__T-__|T-T-|D-__T-T-,[MIDI],=4+3+4+2+4, format note:
divided by 2

muhajjar dawlab maqlub (17/8=5+3+4+2+4)

D-D-D-__D-T-k-D-__T-__T-T-D-__T-k-,[MIDI]

mujarrad (5/8)
D---T-D---,[MIDI]
D-__T-T-__,[MIDI] Tunisia

mukhammas (16/4=7+3+2+4)
['mukhammas is a type of Persian verse']
D-__D-__D-_T-_|T-T-__|T-T-|D-______,[MIDI], format note: divided by 2

mukhammas al-`arabii (8/4=4+2+2)

D---T---D---____T---____T---T---,[MIDI]

mukhammas al-masrii (16/4=2*8)

D-__D-__D-__T-__T-__T-T-D-__T-T-,[MIDI], format note: divided by 2
D-D-D-__T-D-__T-T-D-__T-D-__T-T-,[MIDI], format note: divided by 2
D-__D-__D-______T-__T-__D-______,[MIDI], format note: divided by 2

mukhammas at-turkii(syria) (32/4)

D_Tk|D_T_|D_|D_T_|Tk|D_T_|Tk|D_|T_S_|Tk|Tk,[MIDI],=4+4+2+4+2+4+2+2+
4+2+2, format note: divided by 4

murabb`a al-beduui(tunisia) (8/8)

D-TkD-T-TkD-T-Tk,[MIDI]

murabb`a(tunisia) (4/4)
D-TkD-T-T-TkT-T-,[MIDI]
T-D___T-D___T-__,[MIDI] bedUi desert form

murabba` (13/4=3+4+2+2+2)
[' murabba` means "square"']
D-T-T-D-_T-_T-T-__T-T-D-__,[MIDI], format note: divided by 2
D-T-__D-_T-_T-T-__T-T-D-__,[MIDI], format note: divided by 2
D-T-__D_T-__T-T-__T-T-D-__,[MIDI], format note: divided by 2
D---T-tkt-k-D-tkT-k-t-k-T-k-T-tkt-k-T-tkT-k-D-tkt-k-,[MIDI]
D-T-T-D-__T-__T-__T-T-D-__,[MIDI], format note: divided by 2
D-T-__D-______T-__T-__D-__,[MIDI], format note: divided by 2

murabba` al jazaa'ira (4/4)

see: zaffah

murabba` ash-sharqii (13/4=3+4+4+2)

['\'eastern square"']
D-T-__D-_T__T-T-__T-T-D-__,[MIDI], format note: divided by 2

musaddar(algeria) (4/4)
D---____T---T---,[MIDI]

musaddar(algeria) (8/8=3+3+2)
T-D-__T-D-__D-__,[MIDI]

musaddar(algeria/tunisia) (6/4=3+3)
D---T-T-T-TTT-T-T---T-T-,[MIDI]

musaddar(tunisia) (12/4=5+4+3)
D---____T---T---T---T-T-T---T---T---____T---T---,[MIDI]

musaddar(tunisia) (12/8)
D-__T-T-T-TTT-T-T-__T-T-,[MIDI]

muzzarkaawii(libya) (2/4)
['nuba ']
__TTD-T-,[MIDI]
TTD-__T-,[MIDI]
_D-TD-T-,[MIDI]

nabawii(sudan) (6/4)
D-T-D-T-D---____________,[MIDI]

nabawii(sudan) (4/8)
D-_TD-T-,[MIDI]

najjama(libya) (7/8)
D-T-D-T-D-D-T-,[MIDI]
naqara (2/8)
['TA`ir = "vanish" or "swing"']
D-__,[MIDI]
D-Tk,[MIDI]
D-T-,[MIDI]
DmT-,[MIDI]
DmTk,[MIDI]
__Tk,[MIDI]

naqash (16/8=3+2+3+3+2+3)
D-____T-__T-T-__D-____D-D-T-____,[MIDI]

naqash al-arb`iin (40/4=22+12+6)

['hazaj+mudawwar turkI+mudawwar `arabI']
D-T-|D-DDT-T-|D-T-T-__|T-T-|D-T-|D-T-T-T-|D-__T-T-||D-__T-T-|D-__T-k-|D-D-
|D-__|D-||D-__T-|D-T-,[MIDI] ????, format note: divided by 2

naqash as-sitta -u-ath-thalaathiin(syria)

(36/4=8+12+16=4+4+2+2+2+2+2+2+4+2+4+2+4)
['muHammas `arabI+rawAn maSrI+niSf muHammas turkI or muHammas
`arabI+rawan `arabI awwal+niSf muHammas turkI']
D-T-D-__|T-__T-T-||D-D-|T-D-|T-D-|DDT-|D-__|T-T-||D-__T-__|D-__|D-D-T-
__|D-__|T-k-T-k-,[MIDI], format note: divided by 2
D-T-D-__|T-__T-T-||D-D-|T-D-|T-D-|DDT-|D-__|T-T-||D-T-|D-DD|T-D-|T-T-|D-T-
|D-DD|T-D-|T-T-,[MIDI], format note: divided by 2

naqrazaan ar-raba`(saudi) (4/4)

T-TTT-TTD-TT____,[MIDI]

naqrazaan ath-thaalat(saudi) (4/4)

TTT-TTT-TTT-TTT-,[MIDI]

naqsh as-sab`at `ashr (syria) (17/4=3+7+5+2)

[' a`araj+nawakht+aghir aqSaq+wAHda']
D-T-k-|D-__T-D-__T-T-|D-T-T-k-Tk|D-Tk,[MIDI], format note: divided by 2

naqsh ath-thamaaniat-`ashr (18/4)

D-__T-k-|D-__T-k-|D-D-D-__|D-D-__|T-D-T-,[MIDI],=4+4+4+3+3, format note:
divided by 2

nawakht (7/4=3+2+2)
[' Persian "to beat"']
D---____T---D---____T---T---,[MIDI]
D---T---____D---D---T---____,[MIDI]

nawakht al-hindii (16/4)

D-D-|D-__T-|D-__T-T-|D-__T-|D-__T-T-,[MIDI],=2+3+4+3+4, format note: divided
by 2

nawakht al-hindii (16/8=2+3+4+3+4)

D-D-D-__T-D-__T-T-D-__T-D-__T-T-,[MIDI]

nawwari(syria/lebanon) (4/4)
[' line dances']
-kD-kkG-D-kkG-kG,[MIDI]
S-D-kkS-D-kkS---,[MIDI]

neda voda(macedonia) (11/8)

D-tkt-tkD-tkt-tkD-D-__,[MIDI] Macedonian "Porch Song"

niim al-hazaj (14/4=2+2+2+2+2+2+2)

D-T-D-DDT-T-D-T-T-__T-T-D-T-,[MIDI], format note: divided by 2

niim al-khafiif (16/4)

D-T-T-__D-T-T-__D-T-D-D-T-S-TkTk,[MIDI], format note: divided by 2

niim an-nawaakht (7/8=3+4)

D---T-D---T---,[MIDI]

niim dawr kabiir mawlawii (14/4=1.5+1.5+1.5+1.5+3+2+3)

D-TD-TD-TDT-T-T-TkDDTTDDTkTk,[MIDI], format note: divided by 2
D-T-TkD-T-TkD-T-TkD-T---T---T-TkT-k-DmDmTkTkDmDmTkTkT-Tk,[MIDI]

niim dawr(syria) (18/4)

D-T-|D-DDT-T-|D-T-T-|DDT-T-|T-__T-__|T-T-,[MIDI],=2+4+3+3+4+2, format note:
divided by 2
D-T-|D-DDT-T-|D-T-T-|DDT-T-|T-k-T-k-|T-T-,[MIDI],=2+4+3+3+4+2, format note:
divided by 2

niim rawaan (9/4=4+5)

D---D---T---T---D---D-D-T---____T---,[MIDI]
D---D---T---T---D---D-D-T---T---T---,[MIDI]

niim thaqiil turkii (48/4)

D___|T_k_|D___|T_k_|T_k_|D___|T_k_|D_T_|Tk|D_|T_S_|T_k_|T_k_,[MIDI],=
4+4+4+4+4+4+4+4+2+2+4+4+4, format note: divided by 4
niim uyuun hawaasii (11/8=4+3+4)
D-T-D-__T-T-k-D-__T-__,[MIDI]

nisf muhammas turkii (16/4)

D-__T-__|D-__|D-D-T-__|D-__|T-k-T-k-,[MIDI],=4+2+4+2+4, format note: divided
by 2

nisf niim dawr (12/4=2+3+2+3+2)

D---T---D---D-D-T---D---T---D-D-T---k---T-k-T-k-,[MIDI]

noht(egypt/tunisia) (7/4=3+2+2)
see: nawakht

noss al-wahda (4/4)

D---__T---__T---,[MIDI]
D-TTTTT-_T-_T-T-,[MIDI]
__DDD-T-__DDD-T-,[MIDI]
D-T-__T-D---T---,[MIDI]
D---____T---____,[MIDI]

pajdushko(balkans) (5/8=2+3)
D---T---t-,[MIDI]

pousnitsa(serbia/macedonia/greece/rom) (15/16)
['"Greek jazz"']
D-tkD-tkD-kt-t-,[MIDI]
Dkt-Dkt-DDkt-t-,[MIDI]

pravo(balkans) (2/4)
[' or possibly in triplets (6/8)']
D---T---,[MIDI]

pravo(balkans) (6/8)
[' triplets similar to Zonaradikos-- probably in 2/4 normally']
D---D-T---T-,[MIDI]
D---T-D---T-,[MIDI]

qallaal (4/4)
__T-T-D-T-_TT-D-,[MIDI]
___________TT-D-,[MIDI] intro measure

qantara(morocco) (6/8=2+2+2)
D-T-TT-_T-__,[MIDI]
qatiquftii al-awwal (8/8=3+2+3)
[' Turkish origin']
D-T-__T-__T-____,[MIDI]

qatiquftii ath-thaani (8/8=3+5)

[' Turkish origin']
D-T-T-D-__T-__T-,[MIDI]

qayiim wa nisf(morocco) (8/8=5+3)

D-D-T-_T-_T-T-__,[MIDI]
TkTkDtTktkDkDkt-,[MIDI] 3+2+3 Touma writes it this way (rotated?)

qerqenii as-sarii`(tunisia) (2/4)

T-_TD_T-,[MIDI]

qerqenii(tunisia) (4/4)
T-D-__T-D-__T-T-,[MIDI]

quddaam (3/4)
[' Touma']
D-tkt-t-D-t-,[MIDI]
D--kt-k-D--t,[MIDI]

quddaam(morocco) (6/8=4+2)
D-D-_TD-_T-_,[MIDI]

raaks al-awwal(sudan) (5/8)

D-D-D-T---,[MIDI]
D-T-D-T-T-,[MIDI]

raaqs ath-thaanii(sudan) (2/4)

D-T-T---,[MIDI]

rachenitsa(bulgaria/balkans) (7/8)
D---D---D---k-,[MIDI]
D---T---T---k-,[MIDI]
D---K---D---k-,[MIDI]

radmaan(saudi) (5/4=3+2)
D---__T---T-D---T---,[MIDI]

rahaj (22/4)
D-__|D-__|T-__|D-__|D-__|T-T-|D-_|T-_|T-T-__|T-T-|D-
__,[MIDI],=2+2+2+2+2+2+1+1+3+2+2, format note: divided by 2
ramal (12/8)
['13th c. : ']
T_|T_|T_|T_|Ttt_,[MIDI] SafI al-DIn: KitAb al-adwAr; ,=0+0+0+0+1
T_|T_|Ttt_|Ttt_,[MIDI] SafI al-DIn; KitAb al-adwAr; also RisAla al-sharafiyya
,=0+0+1+1
T_|__|__|__|T___,[MIDI] al-aSl; SafI al-DIn: KitAb al-adwAr; ,=0+0+0+0+1
T_|Ttt_|T_|Ttt_,[MIDI] RisAla al-sharafiyya ,=0+1+0+1
Ttt_|T_|Ttt_|T_,[MIDI] RisAla al-sharafiyya ,=1+0+1+0

ramal al-halbii (28/4)

D-__T-T-|D-__T-__|T-T-|D-__T-T-|D-DDT-__|T-T-|D-T-T-|D-T-|D-T-T-
,[MIDI],=4+4+2+4+4+2+3+2+3, format note: divided by 2

ramal at-turkii (56/4)

D-______|T-__k-__|D-______|T-__k-__|T-__k-__|D-______|T-__k-__|D-T-TkD-
|T-______|T-______|D-__T-__|D-__D-__|T-__S-__|T-k-T-k-
,[MIDI],=4+4+4+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 2

rambaa (2/4)
D-__T-D-,[MIDI]
D-D-TTT-,[MIDI]
D-D-TTTT,[MIDI]
DttKtKDk,[MIDI]

rannaan (13/4=5+4+4)
D-__T-T-__T-T-D-__D-__T-__,[MIDI], format note: divided by 2

raqsaan (15/8=3+2+3+4+3)
see: lamaawiismii

rawaan (14/4=3+3+2+3+3)
D-D-T-D-D-T-D-T-D-DmT-D-T-T-,[MIDI], format note: divided by 2

rawaan al-`arabii al-awwal (12/4)

D---D---T---D---T---D---D-D-T---D---____T---T---,[MIDI]

rawaan al-`arabii ath-thaanii (12/4=4+4+4)

D---____T---____D---D-D-T---T---D---____T---T---,[MIDI]

rawaan ash-shaamii (13/4=4+2+3+4)

D-D-T-T-D-T-D-DDT-D-__T-T-,[MIDI], format note: divided by 2

riyaabiiya(libya) (5/4=3+2)
D---D---T---D---T-T-,[MIDI]

ruchenitsa(bulgaria/balkans) (7/8)
see: rachenitsa(Bulgaria/Balkans)

rufaa`aya(egypt) (4/8)
D-D-T-T-,[MIDI]

rumbaa (2/4)
see: rambaa

s`adaawi(tunisia) (12/8)
D---__T---__D---________,[MIDI]
D---D---T-T-D---T-T---T-,[MIDI]
D---__T---__D---T-T-T-T-,[MIDI]

s`aiidii(egypt) (4/4)
D-T---D-D---T---,[MIDI]
__T---D-D---T---,[MIDI]

sa`udii (2/4)
D-_D-_T-,[MIDI]
D-_D-_TT,[MIDI]
DD_DD_T-,[MIDI]
D-kD-kTk,[MIDI]
DkkDkkTk,[MIDI]

saadaayya (8/4)
D---____T---T---D---T-D-T-D-T---,[MIDI]

saadah ad-duyuk (16/8=8+8)

D-__T-k-T-__k-__D-m-D-__T-__T-k-,[MIDI]
D-__T-__T-__k-__D-__D-__T-__T-k-,[MIDI]

saamrii al-'awwal(kuwait) (3/4)

D---D-__T---,[MIDI]

saamrii al-awwal(saudi) (9/8=4+5)

D---T-T-T-T-T-D---,[MIDI]

saamrii ath-thaalath(saudi) (6/8)

D---T-T-T-T-,[MIDI]

saamrii ath-thaanii(kuwait) (9/8)

D---__D-T3T---____,[MIDI]

saamrii ath-thaanii(saudi) (7/8)

D---T-T-D---T-,[MIDI]

sabamaa (4/4)
D-TkT-TkDmTkT-Tk,[MIDI]
D-TkTkT-D-TkT-Tk,[MIDI]

saidi (4/4)
see: baladii al-maqluub

saliitaanii(qatar) (10/4)
T-D-D---D---D---____D-T-T---T---T---____,[MIDI]

samaa`ii ad-daarij (6/8)

see: daarij

samaa`ii ad-daarij (3/4)

see: daarij

samaa`ii ad-daarij(qatar) (6/8=3+3)

see: yuruuk samaa`ii

samaa`ii al-faht (10/8=3+4+3)

D-__T-D-__T-T-D-__T-,[MIDI]

samaa`ii al-muzadawaj (20/8=3+2+3+2+2+2+3+3)

D-____T-__T-____T-__D-__D-__T-____T-__T-,[MIDI]

samaa`ii aqsaaq (10/8=2+3+2+3)

D-__T-k-__D-__T-__T-,[MIDI]

samaa`ii aqsaaq thaqiil (5/4=3+2)

D---____T---T---____,[MIDI]

samaa`ii as-saraband(egypt) (3/8)

see: saraband

samaa`ii ath-thaqiil (10/8=3+2+3+2)

D-____T-__D-D-T-____,[MIDI]
D-____T-__D-D-T-__T-,[MIDI]

samaa`ii daarij (3/4)

D---T-T-T---,[MIDI]
D---T---K---,[MIDI]
D-TkT-D-T---,[MIDI] is this two bars?
D-t-t-D-t---,[MIDI] is this two bars?

samaa`ii taaiir(tunisia) (3/8)

D-T-T-,[MIDI]

samaah (36/4=12+8+4+8+4)
['Touma']
D-TTD---DDTTD-T---T-DDTTD-T---T-D---,[MIDI], format note: divided by 4

samaah(egypt) (18/8=8+4+6)
D---D---T---T-T-T---D-TTT-T-T-T-T---,[MIDI]

samaah(iraq) (38/8=8+8+8+8+6)
['classical']
D---D---T---T-T-T---D-TTT-T-T-T-T---D-TkT-T-T-T-T---D---____T---T-T-T---
____,[MIDI]

san`aa'ii(saudi) (8/8)
D---T-T-T-T-T-T-,[MIDI]

sandasko(bulgaria) (22/16=13+9)
[' a shortened 22(short on 9', '11);non-Bulgarians count 9+9+4']
D-t-t-t-.t-t-D-t-.t-t-,[MIDI]

sankiin as-samaa`ii (6/4=3+3)

D---D---T---D---T---____,[MIDI]
D---T---T---D---T---____,[MIDI]

saraband (3/8)
D-__T-,[MIDI]
D-TTT-,[MIDI]
D---T-,[MIDI]
DDT---,[MIDI]
D---Tk,[MIDI]

sariir (2/4)
D---T---,[MIDI]

sayyidii(egypt) (4/4)
see: baladii al-maqluub
sedi donka(bulgaria) (25/16=7+7+11)
[' lengthened 12/8']
D--t-t-D--t-t-D-t-t-.t-t-,[MIDI]

sh`abaanieh(egypt/iraq) (5/8)
D-__D-T-T-,[MIDI]

sh`abii al-liibiya (4/4)

D-_TT-_T___TT-_T,[MIDI]

sha'bia(morocco) (12/8)
['polyrhythm "heart and lung"']
T-K-T-K-D-K-T-K-T-K-D-K-,[MIDI] heart
G---D---K-G---K-D-------,[MIDI] lung

shaakaa (12/8=6+4+2)
['modern rhythm; David Korup/Durr']
D-tktkT-tktkD-tkT-tkD-T-,[MIDI]

shabiithii(kuwait) (8/4=4+4)
D---____T---T---D---________T---,[MIDI]
D---____T---T-T-D---T---T-T-____,[MIDI]

shakriia(sudan) (5/8)
TTD-T-T-T-,[MIDI]

shanbar (48/4)
D___|T_T_|D___|D_D_|T___|T_T_|T___|D___|T___|D___|T___|T_T_,[MIDI],=4
+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 4

shanbar al-halbii(syria) (24/4)

D-T-|D-DDT-__|T-__T-T-|D-__T-T-|D-__T-__|T-T-|D-T-__T-
,[MIDI],=2+4+4+4+4+2+4, format note: divided by 2
D-T-|D-DDT-__|T-__T-T-|D-__T-T-|D-__T-__|T-T-|D-__T-T-
,[MIDI],=2+4+4+4+4+2+4, format note: divided by 2

shanbar at-turkii (24/4)

D_Tk|D_|DDT_|T_T_|D_|T_S_|TkTk,[MIDI],=4+2+4+4+2+4+4, format note:
divided by 4

shanbar madaa`anii wa yasmii jiftah shanbar(egypt) (48/4)

D___|T_T_|D___|D_DD|T___|T_T_|T___|D___|T___|D___|T___|T_T_,[MIDI],=
4+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 4
shanbar madaa`anii wa yasmii shiftah shanbar(egypt) (48/4)
see: shanbar maDaa`anii wa yasmii jiftah shanbar(Egypt)

shanshaanii (6/8=1+5)
D-T-T-T-T-T-,[MIDI]

sharqiin al-awwal(saudi) (4/4)

D---T-T-T-T-D---,[MIDI]

sharqiin ath-thaanii(saudi) (16/8)

D-D---D---D---__T-T---T---T-_TT-,[MIDI]

shifta yuruk samaa`ii (12/8=3+3+3+3)

D-D-T-D-T-T-D-T-T-D-T-__,[MIDI]

shiftaatellii(egypt) (4/4)
[' Greek/Turkish: Egyptians think of it as "laf"+another 2']
D-_T-_T-D-D-T-__,[MIDI]
D-_T-_T-D-D-T-Tk,[MIDI]
D-_T-_T-D-D-TkTk,[MIDI]
D-_T-DT-D-D-T-__,[MIDI]
D-TK-KT-D-KkT-kk,[MIDI]

shiftah duyuk turkii(turkey) (16/4)

see: jiftah duyuk turkii(Turkey)

shiftah duyuk(turkey) (16/4)

see: jiftah duyuk(Turkey)

shiiltoh(persia?) (7/8)
D-tktkD-tkt-tk,[MIDI] messed up? possibly should be a 6?

shiishtosh(persia) (6/8)
['should "swing"']
D-ktk-D-t---,[MIDI]
T-ktk-D-t---,[MIDI]

shuush (5/8)
D-tkk-D-T-,[MIDI]

silsila al-musaddar (6/4=3+3)

['silsila == "chained"']
D---T-T-T---T---T---____,[MIDI]
silsila(tunisia) (3/8)
D-T-T-,[MIDI]

sitt '`ashra halbii (16/4)

D-T-|D-T-|D-T-|D-DDT-|D-T-T-|D-__T-k-,[MIDI],=2+2+2+3+3+4, format note:
divided by 2

sitta `ashr al-masrii (32/4)

D_T_|D_T_|D_T_|D_|D_T_|D_T_|T_|D___T_T_,[MIDI],=4+4+4+2+4+4+2+8,
format note: divided by 4

sittat-`ashr masrii (32/4)

D-__T-__|D-__T-__|D-__T-__|D-__|D-__T-__|D-__T-__|T-T-|D-_T-_|T-T-__|T-T-
,[MIDI],=4+4+4+2+4+4+2+3+3+2, format note: divided by 2
D_T_|D_T_|D_T_|D_D_|T_D_|T_T_|D___|T_T_,[MIDI],=4+4+4+4+4+4+4+4,
format note: divided by 4

slow waahida (4/4)

see: waaHida sayyaara

sombati (4/4)
['tAqasIm or vocals; similar to maqsUm -- different accent']
D---T-T-D---T---,[MIDI]
D--kTkT-D-kkT-tk,[MIDI]

sousta(greek - aegean islands and crete) (2/4)

['line dance']
D-tkt-t-,[MIDI]
D-tkD-t-,[MIDI]

sufyaan (2/4)
D-__D-T-,[MIDI]

sufyaan (4/4)
D---____T---T-k-,[MIDI]

sufyaan at-turkii (12/8)

D-____D-____D-____D-____,[MIDI]

sufyaan(algeria) (7/8=3+4)
DT-TT-DT-tT-T-,[MIDI]

suufyaan(algeria) (19/8=7+7+5)
['muwashashat']
D---T-D---T-T-D---T-D---T-T-D---TkT-T-,[MIDI]

suuga(tunisia) (4/4)
D-__T-T-____T-T-,[MIDI]

swat al-`arabii(kuwait) (12/8=7+5)

D---____T---__D---__T---,[MIDI]
D-------T-----D-d---T---,[MIDI]
D-k-t-k-T-k-t-D-d-k-T-k-,[MIDI]
-D-k-t-k-T-k-t-D-d-k-T-k,[MIDI] a second part out of phase

swat al-khaliij (3/4)

see: yuruk as-samaa`ii

swat ash-shaamii (4/4)

D-_T-_T-__D-__T-,[MIDI]
D-_T-_T-D---T---,[MIDI]
D-_T-_T-D-DDT-TT,[MIDI]

swat(kuwait) (8/8=3+2+3)
D-____T-__D-____,[MIDI]
D---T-T---D--TT-,[MIDI] Touma?

syrto(greek/balkans) (4/4)
['very popular greek rhythm']
D---k-D---k-T---,[MIDI]
D---k-T---k-T---,[MIDI]
D-t-k-T-t-k-T-k-,[MIDI] "gypsy"

taa`ir (2/8)
see: naqara

taar al-kabiir(saudi) (4/4)

['"big drum"']
T-T-T-T-T-T-T-T-,[MIDI]

taar al-matwasit(saudi) (4/4)

TKD-TD-_TD-_TD-_,[MIDI]

tabiila(libya) (4/4)
D---D---D---____,[MIDI]

tabl(libya) (4/8)
D-D-T_T-,[MIDI]
tadariij(libya) (5/4=2+3)
D-T-D-T-T---D---T---,[MIDI]

takhtiim(saudi) (3/4)
D-T---T---T-,[MIDI]

tamalkiit(libya) (4/8)
D-T-DT-_,[MIDI]

taras (12/4=3+3+4+2)
D---____T---D---____T---D---____T---T---D---T---,[MIDI]

thaqiil (96/4)
D___|T_k_|D___|T_k_|T_k_|D___|T_k_|D___|T___|T___|D___|D___|T___|D_
__|T___|T___|D___|T_k_|D_D_|T_Tk|D_T_|TkD_|T_S_|TkTk,[MIDI],=4+4+4+4
+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 4

thaqiil al-awwal (16/8=3+3+4+2+4)

['13th c. : SafI al-DIn; KitAb al-adwAr; also RisAla al-sharafiyya ']
Tt_|Tt_|Ttt_|T_|Ttt_,[MIDI]
___|___|T___|__|T___,[MIDI] al-aSl (the basis)
___|___|__T_|__|T___,[MIDI] al-aSl (the basis)

thaqiil al-ramal (20/8)

['13th c. : SafI al-DIn; KitAb al-adwAr']
Ttt_|Ttt_|T_|T_|T_|T_|T_|T_|Ttt_,[MIDI] ,=1+1+0+0+0+0+0+0+1
T___|____|__|__|__|__|__|T_|____,[MIDI] al-aSl,=1+1+0+0+0+0+0+0+1

thaqiil al-thaaanii (8/8)

['13th c. : SafI al-DIn; KitAb al-adwAr']
Tt_Tt_Tt,[MIDI]

thaqiil al-thaaanii (16/8)

['13th c. : SafI al-DIn; KitAb al-adwAr; also RisAla al-sharafiyya ']
Tt_|Tt_|T_|Tt_|TT_|T_,[MIDI] ,=0+0+0+0+0+0
T___________T___,[MIDI] al-aSl (the basis)

thurayya (5/8)
see: `araj at-turkii

triti puti(balkans) (2/4)

D-ttD-t-,[MIDI]
D-t-T--t,[MIDI]
D-ttD-t-,[MIDI]
D-t-T---,[MIDI]

tsamiko(greek) (6/8)
['the Greek national hymn goes to this rhythm; slow-quick-quick']
D-tkT-t-D-t-,[MIDI] 4+2
D-tkT-D-t-k-,[MIDI] 3+3 variation from Epirus
D--kT-k-T-k-,[MIDI] arab-ish version

tuq al-musaddar(tunisia) (6/8)

D-TTT-T-T-__,[MIDI]

tuq(tunisia) (3/4)
D---T-T-T---,[MIDI]

turk as-samaa`ii as-sarii` (3/8)

D-T-T-,[MIDI]
D-TkT-,[MIDI]
D-T-Tk,[MIDI]
D-D-T-,[MIDI]
D-TkTk,[MIDI]

turk assamaa`ii (3/4)

see: yuruk as-samaa`ii

turk zarb(syria) (29/4)

D___|T_T_|D_T_|D_|DDT_|DTk|D_T_|D_TT,[MIDI],=4+4+4+2+4+3+4+4, format
note: divided by 4

turkish 5 (5/4)
D---k---t---k---t---,[MIDI]

turrah (21/4)
D-DD-_|T-T-|D-T-__|T-T-|D-DDT-__|T-T-|D-T-T-|D-
__,[MIDI],=3+2+3+2+4+2+3+2, format note: divided by 2
D-TD-_|T-T-|D-T-__|T-T-|D-DDT-__|T-T-|D-T-T-|D-
__,[MIDI],=3+2+3+2+4+2+3+2, format note: divided by 2
D-DD__|T-T-|D-T-__|T-T-|D-DDT-__|T-T-|D-T-T-|D-T-
,[MIDI],=3+2+3+2+4+2+3+2, format note: divided by 2

unnamed 14 (14/4)
['Souhail Kaspar']
D-tkt-t-tkt-T-tkt-t-D-tkt-t-T-tkt-t-tkt-D-tkt-t-tkt-t-k-,[MIDI]
unnamed greek 7 (7/8)
['?']
DkkDkDkDktkTkt,[MIDI]

uyuun hawaasiiyy (11/4=2+2+3+4)

D---T---D---____D---T---k---D---____T---____,[MIDI]

vals (3/4)
see: yuruk as-samaa`ii

vox(egypt) (2/4)
['modern Egyptian classical rhythm (ala Mohammed Abdel Wahab) probably west-
influenced; could vox == fox == foxtrot??']
D---T-K-,[MIDI]

w'alb`ad yasmiiya haawii (128/4)

see: haawii

waahed w' al-`ashriin(syria) (21/4=12+9=4+4+4+4+2+3)

['nIm warash+nIm rawAn']
D-__T-__|D-DDT-T-|D-__T-T-||D-D-T-T-|D-DD|T-T-T-,[MIDI], format note: divided
by 2

waahid al-maqsuum(kuwait) (4/4)

see: duuyek

waahid al-maqsuuma(kuwait) (4/4)

see: duuyek

waahida (4/8)
D---D-M-,[MIDI]

waahida khafiif (4/4)

D-Tk-kT-Tk-kT-k-,[MIDI]

waahida sayyaara (4/4)

D-------D---T---,[MIDI]

waahida(kuwait/iraq) (4/4)
D---__T-____T---,[MIDI]

wahd al-makalafa (4/8)

D-__T-k-,[MIDI]
wahd' al-basiita (2/4)
D-__T-T-,[MIDI]
D-D-T---,[MIDI]
D-D-T-T-,[MIDI]
D---TkTk,[MIDI]

wahd' al-kabiira (4/4)

D-TT_TT-D-T-T-__,[MIDI]
D-_T-_T-D-T-T-__,[MIDI]

wahd' al-maqsuuma(kuwait) (4/4)

D---T---T---T---,[MIDI]

wahd' al-maqsuuma(kuwait) (4/4)

D---T---T---T---,[MIDI]

wahd' al-matusta (4/4)

D---T-T-T---T-T-,[MIDI]

wahd' as-saa'iira (2/4)

see: waHd' al-basiiTa

wahd' as-saghiira(tunisia) (2/4)

D-_T--T-,[MIDI]

wahd' at-tawiila(iraq) (8/8)

D-T-__T-D-D-T-__,[MIDI]

wahda al-shamiin(lebanon) (2/4)

see: baruel

wahraani (8/8=3+2+3)
['Beduin']
DD__T-DD_T__T-T-,[MIDI]

walking masmuudii (8/4=4+4)

D---D---D---T---D-tktkt-TktkT-t-,[MIDI]

warash(syria) (26/4)
D-T-|D-DDT-__|T-T-k-|T-T-|D-T-T-|D-__T-__|T-__|T-T-|D-T-__T-
,[MIDI],=2+4+3+2+3+4+2+2+4, format note: divided by 2
D-T-|D-DDT-__|T-T-k-|T-T-|D-T-T-|D-__T-__|T-__|T-T-|D-__T-k-
,[MIDI],=2+4+3+2+3+4+2+2+4, format note: divided by 2
warshaan al-`arabii (32/4)
D-______|T-__|D-______|T-__|D-_T-_|T-T-__|T-T-|D-__D-D-|T-_T-_|T-T-__|T-T-
,[MIDI],=4+2+4+2+3+3+2+4+3+3+2, format note: divided by 2
D___|T_|D___|T_|D___|T_T_|D_DD|T___|T_T_,[MIDI]
Egypt,=4+2+4+2+4+4+4+4+4, format note: divided by 4

yamani? (8/8)
['accompanies end of sawt poem']
--t---D---t-m---,[MIDI]

yugrig? (12/8)
['accompaniment for maqam jabburi']
D---t-k-T---t-d-T-------,[MIDI]
----------------T-------,[MIDI] spacey variation
D-------T-------T---d---,[MIDI] spacey variation
D-------------d-----d---,[MIDI] spacey variation

yukruk al-`iraaqii(iraq) (12/4)

D---____T---T---T---____D---T---T---____________,[MIDI]

yukruk(egypt) (12/4)
D---____T---T---T---____T---D---T---____________,[MIDI]

yuruk (3/4)
see: daarij

yuruk as-samaa`ii (3/4)

D---T---T---,[MIDI]
D---T-T-T-T-,[MIDI]
D---T-D-T---,[MIDI]
D---____T-T-,[MIDI]
D-__D-D-D-T-,[MIDI]

yuruuk samaa`ii (6/8=3+3)

['Turkish origins']
D-T-T-D-T-__,[MIDI]

zaffah (4/4)
['Egyptian wedding processional']
D-tkt-t-D-t-t---,[MIDI]
D-tkt-t-D-t-t-tt,[MIDI]
D-tkt-t-D-t-D---,[MIDI]
D-D-D-t-tktkt-t-,[MIDI] Hossam Ramzy
zaqaayarii(libya) (12/4=3+3+6)
D-D-T---T---D-D-T---____D-D-T---T---T---T---D---,[MIDI]

zar (3/4)
D---t-k-t-k-,[MIDI]
D---D---t---,[MIDI]

zar(egypt) (4/8)
see: ayyuub(Egypt)

zaraafaat (13/8=3+3+4+3)
D-____T-____D-__D-D-T-____,[MIDI]
D-tkt-D-tkt-T-tkD---T---tk,[MIDI] Souhail Kaspar

zarfakand (11/4=2+2+3+2+2)
D---____T---____D---D---____T---____T---____,[MIDI]

zendalii (6/8)
D-D-TTD-TTTT,[MIDI]

zenkov(russia/central asia) (21/8=9+7+5=2+2+2+3+2+2+3+2+3)

D---T---D---T---k-D-k-D-k-T---k-D---T---k-,[MIDI]

zeybek(greek) (9/4)
see: zeymbekiko(Greek)

zeybekiko(greek) (9/4)
see: zeymbekiko(Greek)

zeymbekiko(greek) (9/4)
D-t---t-D-t-----D-t---t-D-t-----T---,[MIDI]

zinjiir at-turkii (120/4=16+20+24+28+32)

['jiftah duyuk turkI+fAHta+shanbar turkI+dawr kabIr+barifshAn turkI']
D-__|T-______|T-__|D-__D-__|T-__T-k-||D-__|D---D---|T-__|T-__|T-__|T-__S-
__|T-k-T-k-||D-__T-k-|D-__|D-D-T-__|T-__T-__|D-__|T-__S-__|T-k-T-k-||D-
__|D-__T-__|D-__TkD-|T-__T-__|T-__D-__D-__|T-__S-__|T-k-T-k-||D-______|T-
__|D-______|T-__|D-______|D-__T-__|D-__|D-__|T-__S-__|T-k-T-k-,[MIDI],
format note: divided by 2
D---T-------T---|D---D---|T---T-k-|D---D-D-|T---T---|T---D---|T---S---|T-k-T-k-|D---
T-k-|D---D-D-|T---T---|T---D---|T---S---|T-k-T-k-|D---D---|T---D-T-|TkD-T---|T---T-
--|D---D---|T---S---|T-k-T-k-|D-------|T---D-------T---|D-------|D---T---|D---D---|T--
-S---|T-k-T-k-,[MIDI] Syria, format note: divided by 2
zonaradikos(greece) (6/8)
D---T-T-T-T-,[MIDI]

Q: So where are more rhythms? Rhythm Collection

I notice there is a tendency for beginning drummers to want to quickly "collect" as
many rhythms as they can. (Hey, I did it too.) Let me point out that it is not the
number of rhythms you can play, it's more about being able to communicate clearly
with the vocabulary you have. Some of the "best" Middle Eastern drummers usually
play only a couple of rhythms. Most songs are to basic rhythms of 2, 4, 6 or 8. The art
of Middle Eastern drumming is in doing the most with what you have -- playing
perfectly and precisely -- ornamenting the rhythm appropriately -- making all of the
sounds that your instrument can make pleasingly.
Okay, that said: here is a list of a whole bunch of Middle Eastern and Mediterranean
rhythms.

Q: What's the earliest documented rhythm?A Brief Analysis of Historical Sources

Here is a page with some historical artistic representations of various Middle Eastern
drums.
Here is a page with notes for a class I taught on documenting rhythmic modes in pre-
1600 Middle Eastern music.
One of the earliest surviving sources on Middle Eastern music theory is the "Kitab al-
Aghani" (Book of Songs) by "Abu al-Faraj Ali of Esfahan"; it was written in the early
10th century -- unfortunately the technical sections on music and rhythm theory are
completely in decipherable.
In the 13th century, SafI-al-DIn wrote two books, apparently about 50 years apart:
the "Kitaab al-adwaar" and "Risaala al-sharafiyya". These texts contain a great deal of
technical information on musical theory and are practically the only such sources
available until much later in history. He is apparently the first to use the term "dawr"
to refer to the rhythmic cycle and the first to discuss it in any depth.
In "Kitaab al-adwaar" chapter 13 is devoted to rhythmic modes. SafI-al-DIn lists eight
rhythmic modes with variations. The "Risaala" also mentions seven of the same
rhythms and adds another. The way he describes the rhythms is in terms of segments
(feet) of long and short syllables. He notes that some beats may optionally be played,
presumably at the discretion of the musician, and others are fixed. There is little or no
evidence about how these rhythms were applied specifically to percussion
instruments.
In "Kitaab" he gives a "basis" for each rhythm (al-aSl) but this was probably based on
his own form of analysis rather than common practice since it seems of limited use
and he later seems to deprecate the notion in "Risaala". Notice the variations
mentioned between the two works have very different basic cycle lengths. For the
cycles that are even-divisions or multiples of each other one might imagine that the
short rhythm is simply stretched by a factor of two to fill the space. There are many
cases where his rhythm notations for song examples don't add up. Part of this seems
to be the habit of not specifically mentioning the length of a note when it is a repeated
note of the same tone as the previous. This makes it nearly impossible to reconstruct
his examples with any (rhythmic) accuracy and leads one to suspect we may not be
able to interpret any of the modes with certainty.
Here are the rhythmic modes he mentions (pay no attention to the distribution of
notes versus rests -- it was not Safi-al-Din's -- I've had to make it at least plausible to
render in modern notation):
al-thaqiil al-awwal 16/8=3+3+4+2+4
1-+-2-+-3-+-4-+-|
Tt_Tt_Ttt_T_Ttt_| [MIDI]
______T-____T___| [MIDI]al_aSl (the basis)
________T___T___| [MIDI]al-aSl (the basis)
al-thaqiil al-thaanii 16/8=3+3+2+3+3+2
1-+-2-+-3-+-4-+-|
Tt_Tt_T_Tt_TT_T_| [MIDI]
T---________T___| [MIDI]al-aSl (the basis)
al-thaqiil al-thaanii 8/8
1-+-2-+-|
Tt_Tt_Tt| [MIDI]
khafiif al-thaqiil 16/8=2+2+2+2+2+2+2+2
1-+-2-+-3-+-4-+-|
T_TtT_TtT_TtT_Tt| [MIDI]
khafiif al-thaqiil 2/4=2+2
1-+-|
T_Tt| [MIDI]
Ttt_| [MIDI]Risaala al-sharafiyya
thaqiil al-ramal 20/8=4+4+2+2+2+2+2+2+4
1-+-2-+-3-+-4-+-5-+-6-+-|
Ttt_Ttt_T_T_T_T_T_T_Ttt_| [MIDI]
T-________________T-____| [MIDI]al-aSl
al-ramal 12/8
1-+-2-+-3-+-|
T_T_T_T_Ttt_| [MIDI]Safii al_Diin: Kitaab al-adwaar;
T_T_Ttt_Ttt_| [MIDI]Safii al-Diin; Kitaab al-adwaar; also Risaala al-sharafiyya
T-______T___| [MIDI]al-aSl; Safii al-Diin: Kitaab al-adwaar;
T_Ttt_T_Ttt_| [MIDI]Risaala al-sharafiyya
Ttt_T_Ttt_T_| [MIDI]Risaala al-sharafiyya
khafiif al-ramal 10/8=2+3+2+3
1-+-2-+-3-|
T_Tt_T_Tt_| [MIDI]
T______T__| [MIDI]al-aSl
khafiif al-ramal 12/8=2+4+2+4
1-+-2-+-3-+-|
T_Ttt_T_Ttt_| [MIDI]Risaala al-sharafiyya version
khafiif al-ramal 6/8=2+4
1-+-2-|
T_Ttt_| [MIDI]
muDaa`af al-ramal 24/8
1-+-2-+-3-+-4-+-5-+-6-+-|
Ttt_T_Ttt_T_Ttt_T_Ttt_T_| [MIDI]
T-________________T-____| [MIDI]al-aSl
al-hazaj 12/8=4+3+3+2
1-+-2-+-3-+-|
Ttt_Tt_Tt_T_| [MIDI]
T-______T-__| [MIDI]
al-hazaj 6/8=4+2
1-+-2-|
Ttt_T_| [MIDI]
T-__T_| [MIDI]al-aSl
Tt_Tt_| [MIDI]Risaala al-sharafiyya version
al-faakhitii 20/8
1-+-2-+-3-+-4-+-5-+-|
T-__T_T-__T-__T_T-__| [MIDI]
T_T-__T-__T_T-__T-__| [MIDI]
T_Ttt_Ttt_T_Ttt_Ttt_| [MIDI]Risaala al-sharafiyya version
al-faakhitii 28/8
1-+-2-+-3-+-4-+-5-+-6-+-7-+-|
T_T-__T-__T-__T_T-__T-__T-__| [MIDI]Risaala al-sharafiyya variation in 28
T_Ttt_Ttt_Ttt_T_Ttt_Ttt_Ttt_| [MIDI]Risaala al-sharafiyya variation in 28

Q: Where else can I read about Middle Eastern rhythm history? ( Bibliography )
Check the bibliography of my notes for a class I taught on documenting rhythmic
modes in pre-1600 Middle Eastern music.
Here's a bibliography from the Encyclopedia Britannica.
If primarily read English (like me), you are not going to find much on this subject.
Henry George Farmer has a number of books on Arabic music history and theory (some
of them in English). He does not present much about rhythm -- as I mentioned there is
apparently not a lot to find.
Jean During (a modern westerner who studies traditional Persian music) has written
about Persian music theory in both English and French. "The Art of Persian Music" is
sort of a coffee table book but contains a bit of interest about Persian rhythm tradition
as well as good overview of Persian music.
There is a book "The Music of the Arabs" by Habib Hassan Touma -- he includes some
rhythmic mode definitions, although I'm leery about a few of his rhythmic notations.
He also includes historical notes about music development.
The Modal System of Arab and Persian Music AD 1250-1300(O. Wright, 1978) has a
brief analysis on what is to be found about rhythmic modes in historical works from
13th century. Also it has a mind-numbing amount of analysis of melodical modes, if
you are into that sort of thing. Interesting note: I've seen references to Persian
translations of this book referenced by Persian authors writing about Persian music.
Reading French may help in studying first sources as Rodolphe von Erlanger translated
many parts of historical works in Arabic in his many volumed "La Musique Arabe".
Herman Rechberger is a Finn who studies Arabic music (speaks Arabic) and has
apparently traveled a good deal in the Middle East has a web version of his book on
Arabic rhythmic modes here -- it is very interesting, however I find the rhythmic
notation on the web page almost impossible to read. This is corrected in the hard copy
of the book (which I have finally managed to get) and he also adds fixed space textual
notation (possibly inspired by this page and e-conversing with me), and a couple of
short discussions of the rhythmic mode usage in a couple of classical musical families.
Here are a few web links:
1 Persian Traditional Music

2 Turkish Traditional Music

If you do find any good sources, do let me know!

Mas'ud al-Sha'ir's
Quick and Dirty Guide to Middle-Eastern Rhythms

Page 1

Rhythm
Variation Rhythm Notation Bridge
Name
1e&a2e&a3e&a4e&a|1e&a2e&a3e&a &a
Timing
4e&a tk
Open D D t D T |D D T D T
Standard D D tkt D tkT |D D tkT D tkT
Busy DkD tktkD tkT |DkD tktkD tkT
DkDktktkDktkTktk|DkDktktkDktkTkt
Closed w/brdg
k
Timing 1e&a2e&a|1e&a2e&a None
Open(50K) D D |D D (50K)
Simple(50K) D t D t |D t D t (50K)
Standard(96K
D tkD t |D tkD t (96K)
)
Busy(135K) DktkD t |DktkD t (135K)
 Closed(55K) DktkDktk|DktkDktk (55K)
1e&a2e&a3e&a4e&a5e&a6e&a7e&a8 &a
Timing
e&a tk
Turkish D D tktkT D tktkT tktkT
Arabic D D tkt T D tkt T tkt T
Busy D tkD tktktkT tkD tktkT tktkT
Closed DktkDktktktkTktkDktktkTttktkT
3 Doum D D D tkT D tktkT tktkT
D -> Doum - Played by holding fingers together and striking the center of
head
T -> Tek with the Primary Hand on the rim of the drum where the head
meets the rim.
K -> Tek with the Secondary Hand on the rim of the drum where the head
meets the rim.
[T T T T T] -> Slide edge of secondary hand across head as teks are played

The Rhythms
Please remember - there are many, many variations in fill and accent. These are only a
starting point.

Karshlama (Greek - Karsilamas). (9/8)

Probably the most commonly played "Odd Meter" in the Doumbek world. 2-2-2-3.
Check out a Real Audio sample of a Gypsy Karshlama variation from the Farabi album,
Taverna.
2223
D-tkT-tkD-tkTTT
1-2-3-4-5-6-789
Gypsy variation
D-tkD-tkT-tktkTT
1-2-3-4-5-6-7-89

Laz (or ?) (7/8)

A great 7/8, generally played pretty fast (through to blazingly fast).
223
DkDkT-k
1234567
Devra Hindi (7/8)
Another 7/8, different feel, usually a bit slower.
322
D-kDkT-
1234567

Curcuna (pronounced "Jurjuna") (10/8)

A really great 10/8, popular in Armenian music. It should swing like a 6/8.
3223
D-kTkD-T-k
12345678910

Kopanitsa (11/8)
A Bulgarian 11/8, it's almost like taking the two 7/8's above and looping them
through each other. Usually played really fast (it's a Bulgarian thang).
22322
DkDkT-kDkT -
1234567891011

Finally, just for fun, Zenkov (21/8)

A wild Russian dance rhythm, this can be thought of as a 9/8, a 7/8, and a 5/8 all
strung together
222322323
D-T-D-T-kD k D k T - k D - T - k
123456789101112131415161718192021

Rhythm notation key

You are here: Home > Drummer's guide > (here)

Updated: 22-JAN-03
 Accompanying dancers

Buying a riq
Learn how to make specific drum sounds on goblet-shaped drums like the doumbek
and learn drumming rhythms by counting.
CONTENTS
> Notation key / How to make specific drum sounds
> Go with the flow
> Counting the rhythms
> Difficulty ratings!

Notation key / How to make specific drum sounds

D = "Doum"
With your main hand, fingers held closed and flat, hit the center, allow echo.
Also called "Dum" or "Dom".

T = "Tek"
With your main hand, using 1 to 3 fingers, hit near the edge for a high pitch.
Also called "Tak".

K = "Ka"
Like Tek, but with your other hand.

M = "Muffle"
Press on the drum head with one hand, play a flat Doum with the other hand, no echo.
Also called a Slap.

r = "Roll"
Make two or more very quick Tek or Ka hits in a single beat. I use these sequences
with my fingerpads or fingernails: 2-1, 2-1-2, 3-2-1, 3-2-1-2, 3-2-1-3, and so on.

P = "Pop"
Press near the center of the head with one hand, play Tek or Ka with the other. Vary
the pitch by changing the hand placement and pressure on the drum. Less distance
between hand and edge gives a higher pitch.

S = "Snap"
Snap finger with thumb on edge (as for Tek/Ka).
This one isn't in my repertoire, but I've seen others do it. It's also a standard stroke for
frame drum.

G = "Grab"
A quick open hand grab on edge of drum. Also not in my repertoire.

c = "Clap"
Clap your hands! Once.

"Spray"
Use your thumb to flick your fingernails in succession in a roll near the center of the
head, usually starting with the third (ring) or fourth (shortest) finger.

"Thump"
Use your thumb to flick your first or second finger to hit near the center of the head.
Change the sound by changing the finger followthrough, palm orientation, and so on.

When used, the lowercase letters (d, t, k) indicate a softer sound. Lowercase = softer.
Right... well, rolls are an exception: lowercase r is used to help distinguish it from
uppercase P (for Pop).
Also, substitute Tek for Ka and vice versa if that works better for you.

Go with the flow

Change what you play to fit or complement the situation. Please keep in mind that the
notations in this guide are just suggestions. Many, many variations are possible for any
given rhythm.

Counting the rhythms

For each rhythm, I've assigned a number of "beats" or "counts". For me, this works
better than seeing notes on a staff, which puts my mind into singing mode!
What I call a "4/8-count rhythm" is one that can be played while you count from 1 to 4
or from 1 to 8 before the rhythm repeats. Experienced musicians should be able to take
such a rhythm and also play it using sixteen counts (which would be very slow) or two
counts (which would be very fast).
Here's an example using a rhythm I've heard called Maqsum.
2-count
1-&-2-&-
DT-TD-T-

4-count
1-&-2-&-3-&-4-&-
DT-TD-T-
 8-count
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D T - T D - T -

16-count
1-2-3-4-5-6-7-8 1-2-3-4-5-6-7-8
D-T---T-D---T---

To me, the 4-count and 8-count versions are easiest to use.

As you can see, it's the same rhythm, just in different scales of time.

Difficulty ratings
For each rhythm and variation, I list a difficulty rating based on count length, hand
motion, memorability and syncopation/"choppiness". The ratings (and other bits of
information) are in square brackets [] and come in five levels: easy, easy-medium,
medium, medium-tough, tough.
"Easy" rhythms are quick to learn, memorable and short.
"Tough" rhythms can take a while to learn - and re-learn.

Kudos to Javaria for her generous assistance with this!

Base-2 hand drumming rhythms

You are here: Home > Drummer's guide > (here) Updated: 17-JAN-03

1 Notation key

2 Buying a riq

3 Accompanying dancers
This page has notation and difficulty ratings for hand drumming rhythms (mostly
Middle Eastern) that can be done in four or eight counts. Part of Kamuran's Guide for
Doumbek Players.

"ARABIC"
[easy]
1-+-2-+-3-+-4-+-
D T D tk
T tktkD
D k D k T k - k == [easy-medium, syncopated]
AYOUB / AYUB / AYUBE / AYUUB / AYYUB / ayyuub
[easy, Egyptian]
1-+-2-+-3-+-4-+-
D t D t == Mas'ud: simple
D t k D t == Nott
D kkD k

D tkD D == Mas'ud: "Zar"

D tkd d == Steve: "Zar" #1; also see the base-3 Zar
D TTD T == Jas: open Sombati

D -kD K == Jas: simple

also: [easy-medium]
1-+-2-+-3-+-4-+-
D k t k D t == Mas'ud: busy

also: [medium]
1-+-2-+-3-+-4-+-
D k k D G == Jas: classic
D k k d G == Nott
D t k d G == Steve: "Zar" #2

BAYOU
[easy, some syncopated, Egyptian, modern?]
1-+-2-+-3-+-4-+-
D--DD-T-
D - k D D - G - == [medium]

KARATCHI / karAtshi
[easy]
1-+-2-+-3-+-4-+-
D k k T D == Nott
T k k T D == Jas
T k t k T D == Jas

TAYIR (Naqrah)
[medium]
1-+-2-+-3-+-4-+-
D S

WAHIDA / WAHIDAH - also Wahda, Wahdah

[easy-medium]
1-+-2-+-3-+-4-+-
D - D M
D t k t k t k == [easy]

WAHIDA SAYRAH / WAHIDA SAYIRAH

[easy, think Native American]
1-+-2-+-3-+-4-+-
D - t t == Nott
D - T K == Jas

For rhythms that can be done in four or eight counts, see the Base-4 page.

Rhythms: Base-2 | Base-3 | Base-4 | Base-5 | Base-6 | Base-7 | Base-8 | Base-9 |

Base-Prime

Base-3 hand drumming rhythms

You are here: Home > Drummer's guide > (here) Updated: 22-JAN-03

1 Notation key

2 Buying a riq

3 Accompanying dancers
This page has notation and difficulty ratings for hand drumming rhythms (mostly
Middle Eastern) that can be done in three or six counts. Part of Kamuran's Guide for
Doumbek Players.

CANTIGA 18
[easy-medium, 3 or 6 count, from me]
1-+-2-+-3-+-4-+-5-+-6-+-
T K T tktkD

** This is a rhythm I have used to play #18 from the "Cantigas de Santa Maria".

"ELEPHANT"
[easy-medium, 6 count, syncopated, African?]
1-+-2-+-3-+-4-+-5-+-6-+-
D - d K - K
D - d K t K
D k T K - K

extensions:
[medium-tough]
1-+-2-+-3-+-4-+-5-+-6-+-
D k t k t L T k t k t K == L for left-handed Doum
D k t k t L T k t k D K == ditto

KHLAS
[easy, 3 count]
1-+-2-+-3-+-
D - D - T T == also see Darj in Base-4
D - D - k k == me

QUDDAAM / QODDAM
[easy-medium, 3 or 6 count, Andalusian]
1-+-2-+-3-+-4-+-5-+-6-+-
D tkt t D t
D - k t k D - t == [medium, syncopated]

SAMAI DARIJ
[easy-medium, 3 or 6 count]
1-+-2-+-3-+-4-+-5-+-6-+-
D t k T d T - == also see Darj
D - T - K - == Jas: basic; [easy]

also: [medium]
1-+-2-+-3-+-4-+-5-+-6-+-
D - tk- tk- Dk- tk- - - == Jas, Nott

** In the variation above, notice that the Ka hits are NOT on the
half-count. This makes for a "choppier" sound.

also: [medium, from Nott]

1-+-2-+-3-+-4-+-5-+-6-+-
D T k T D T - == verse 1 of 3
D T T D T - == verse 2 of 3
D r T D k T - == verse 3 of 3

SUFI, MOROCCAN
[medium-tough, syncopated]
1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+-
D-k-k- D--k-- D-k-k- Dk-k--
TSAMIKO
[medium, 3 or 6 count, syncopated, Greek]
1-+-2-+-3-+-4-+-5-+-6-+-
D--kT-k-T-k-

ZAR
[easy-medium, 3 count, trance rhythm]
1-+-2-+-3-+-
D t k == one option of many - Dtt, Dtk, Dkt, Dtkt, Dktk ...

D tktk D tktk D tktk D D T == Jas

D tktk D tktk D tktk D D D == see #1 below
D tktk D tktk D tktk D T c == see #2 below

** [1] This is a variation I used to call The Lion's Roar;

get increasingly louder (crescendo) in the last measure.

** [2] This is a variation I used to call The Skipping Lion; it can be fun
to mix up the beats at the end (D K T, D c c, c c c, c T D ...)

For rhythms that can be done in even multiples of six counts, see the Base-6 page.

Base-4 hand drumming rhythms

You are here: Home > Drummer's guide > (here) Updated: 16-JAN-03

1 Notation key

2 Buying a riq

3 Accompanying dancers
This page has notation and difficulty ratings for hand drumming rhythms (mostly
Middle Eastern) that can be done in four or eight counts. Part of Kamuran's Guide for
Doumbek Players.

"ADNAN"
[easy-medium, source unknown]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - t - D D T - == me: open
D tktktkD D T tk
al-thaqIl al-awwal
[easy-medium, syncopated, Safi al-Din 13th c.]
1-+-2-+-3-+-4-+-
- -T- T
- - T T == [easy]

** Both of these are "basis" versions. See Bibliography on Jas's site.

Also see "First Thaqil" and the longer version on the Base-8 page.

"ARABIC"
[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D D tkT tktkT tk
D D tkT tkD T tk

BALADI / baladii / BELADI / BELEDI

[easy-medium, Egyptian]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D D t t D t t - == me: open
D D - t D - T - == Mas'ud: open (also see Falahi)
D D t k t D t k T - == Mas'ud: standard
D k D t k t k D t k T - == Mas'ud: busy

D D t k t D t k t t k == Nott
D t k D D t k t t k t k == Nott: inverted (also see Guwazi/Gawazi)

also: [medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D k D k t k t k D k t k T k t k == Mas'ud: closed

D D k k G D k k G k k == Jas: really a particular "maqsum"

D D k P D k P == Jas: Egyptian
D m T t k D D t M T t k == Jas: another Egyptian
D k D k t k G k D k t k G k t k == Jas: walking

D t K - t k D t k T t k == Steve #2
D D T K D T G t k == Steve #3
D G T G d k t k P t k == Steve #5 [medium-tough]

D D r s T D r s T t k == Steve #6
D t K - t K D D P - == Steve #8

BOLERO
[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - T - T T D T == me: open
D - T - T K D K == me: open
D t k t k t k d k == Daveed (also see Rhumba)
D k k T k T k T d == me

also: [medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D k k T k k T k T k D T == Nott, Jas
D tkk T k T k D k == Jas (see below)

** In the 'tkk', the two Ka can be done with a roll of two fingers.

COCEK (say Cho-Chek)

[easy-medium, syncopated, Romany/Macedonian Gypsy]
1-+-2-+-3-+-4-+-
D - t T - t T k == count 3-3-2 (** you could also count 2-3-3)

DARJ
[medium]
1-+-2-+-3-+-4-+-
-D-D-TT-

falaahii / FALAHI / falahin

[easy-medium, upper/southern Egyptian]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D T - T D - T - == Mas'ud: open; Jas: "Maqsum"
D T t k T D t k T - == "standard" (also see Baladi)

also: [medium/medium-tough]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D g k g D k g k == Nott
D G k G D G k G == Jas: simple
D G k G D k G k == Jas: alternating
D d k d D k d k == me (no Grabs)

GHAWAZEE
[easy-medium, upper/southern Egyptian]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
t t D t D D T - == me: open
t k t k D t k D D T - == Jas: "similar to Qaayim wa'nisf"

GUWAZI / GAWAZI
[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - D D - - T - == Mas'ud: "open Guwazi"
D t k D D t k t T - == Mas'ud: "standard Guwazi"

D t k D D t k T t k t k == Daveed: "Gawazi"

KARATCHI
[easy-medium, Egyptian, modern?]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
T - T D T - T D == me: open
T k T D T t T D == ditto
T k k T D T k t k T D == Jas

MALFOUF / MALFUF / SAUDI

[easy-medium, Arabic/Egyptian, some syncopated]
1-+-2-+-3-+-4-+-
------------------------------------------------- ** count 3-3-2
D k k D k k D k == Nott: Saudi
D k k D k k T K == Daveed
D - - t - - t - == Nott

------------------------------------------------- ** count 2-3-3

1-+-2-+-3-+-4-+-
D - t k - k t - == Nott: delicate, spacey
D - t K - k T - == Jas: spacey
D - k D - k T k == Jas: "Saudi"

------------------------------------------------- ** count 2-2-2-2

1-+-2-+-3-+-4-+-
D - t K - - T - == ??
D - T - T - T D == Jas: Saudi, "Latin" style

also: [medium] ---------------------------------- ** count 3-3-2

1-+-2-+-3-+-4-+-
D k k G k k G k == Nott/Jas
D k k G k k D k == Jas
D k k D k k G k == Jas: "Saudi", also called "Khaleegy"?

MAQSOUM / MAQSUM / maqsuum / maqsoun

[easy-medium, Egyptian]

** open: see Falahi

1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D k - k D - k - == Daveed
D k - k D - t - == Nott: "Gawazi"

also:
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D T t k T D t k T t k == Jas: filled (also see Falahi)
D T k k T D k k T k k == Nott

D t k t D k T t k == Nott: walking
D K t K D k T t k == Jas: walking
D k T k D k T t k == me: walking

D tkT K D k T - == Numair Madhi

also: [medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D G k k G D k t k G k k == Jas: alternate
D d K k d D k t k d k k == me (no Grabs)
D D k k G D k k G - == Nott

** Jas: Maqsum/Maqsoum means "broken in half" (also called Masmoudi Saghir).

MASMOUDI / MASMOODI / MASMUDI

[easy-medium] ----- ** The last half can be a separate rhythm!
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D tkt T tkt T -
D t k t k T t k t k D k == variation

1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D D - T D - T T == Jas: "Masmoudi Kebir"

MUKHAMMAS
[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - D - D - T - T - T T D - T T == count 4-2-2-6

NAWARI
[medium, Syria, line dance]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
d D k k d D k k d - == me: without grabs [easy-medium]
G D k k G D k k G - == Nott
- k D - k k G D k k G k G == Jas: "Nawwari" [medium-tough]

RHUMBA / rumbaa
[medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D tkt K t K D k
D t k T k T k D k == variation

SAIDI / SAIIDI / sayyidii

[medium, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - t k - k D - D - - - t k t - == Nott; (** also see Laz)

D - t - D D t t - == Jas #1: (open)

D k t - k D D t k t t k == Jas #2: filled with bridge
D k t - D D - c - == Jas #3

also:
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D k G k k D D D k k G k k == Jas #5: 3 Doum
D k t k D D k t k k == Jas #7: "Sadika's?"

SAWT 8
[easy-medium, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - T T - D -TT

SERTO / SIRTO
[medium, Greek, syncopated]
1-+-2-+-3-+-4-+- 1-+-2-+-3-+-4-+-
D - k D - k t k D - k T - k t k == Jas, Mas'ud, Nott; (2-3-3)

D - k D - k t k D - k T - k t k == me: verse 1
D - k D - k t k D k T k T - T - == me: verse 2

** This sounds best to me at medium-slow speed; about 120 beats

per minute or one time through in about 4 seconds.

SOMBATI
[medium, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D--kTkT-D-kkT-tk

WAHIDA / WAHIDAH - also Wahda, Wahdah

1-+-2-+-3-+-4-+-
D - - T - - T - == Also see the Base-2 page and "Malfouf" above.
YAMANI
[medium-tough, syncopated]
1-+-2-+-3-+-4-+-
- t - D - t m - == Jas: "accompanies end of Sawt poem"

ZAFFA / EL ZAFFAH
[easy-medium, modern?]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D t r t K m K m - == me
T t r t k d K D - == me
D t k t t D t D - == Jas: "alternate version"
D t k t t D t t - == See Note below.
D D D t t k t k t t == Jas: from "Hossam Ramzy"

** Jas: "Egyptian wedding processional, candleabra dance"

For rhythms that can be done in two or four counts, see the Base-2 page.

For rhythms that can be done in even multiples of eight counts, see the Base-8 page.

Base-5 hand drumming rhythms

You are here: Home > Drummer's guide > (here) Updated: 16-JAN-03

1 Notation key

2 Buying a riq

3 Accompanying dancers
This page has notation and difficulty ratings for hand drumming rhythms (mostly
Middle Eastern) that can be done in multiples of five counts. Part of Kamuran's Guide
for Doumbek Players.

AQSAQ SAMAI
[easy-medium, syncopated]
1-+-2-+-3-+-4-+-5-+-
D - T K - D - T - T == count 5-5; (** you could also count 2-3-2-3)

CURCUNA (pronounced "JOOR-joo-nuh")

[medium-tough, syncopated, Armenian]
1-+-2-+-3-+-4-+-5-+-
D - k T k D - T - k ** count 2-5-3

also: [medium]
1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-
D - - k t k t - - k t k D - K - D - K - == Daveed

D k t k D k D k D k t k == Jas
D k k T k D k T k k == Jas: quick version

DAVEED 15
[easy-medium, 15 count, modern?]
1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+-4-+-5-+-6-+-
D k k T k k T k k D k T k T k

FARSEE 5
[medium-tough, modern?]
1-+-2-+-3-+-4-+-5-+- 1-+-2-+-3-+-4-+-5-+-
D - t k - k - D t - T - t k - k D - t - == Jas: Durr invention?

FIFTEEN
[medium, 15 count, syncopated]
1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+-
D - - K - - T - - k t t D - T

NUBAR
[medium-tough]
1-+-2-+-3-+-4-+-5-+- 1-+-2-+-3-+-4-+-5-+-
D k k T k k D k t k T k k D k t k D k k == unknown

SAMAI
[medium]
1-+-2-+-3-+-4-+- 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+-
D tkt t tktkD tkT T D - D - T T tktkt -
D t k t k t t k t k t t k t t D - D - t t t k t k t t == Nott

D tkt k T - T tkt k D - D - T tk t k t k == Daveed

D - D - T tkt k t k D tkt k T - T tkt k == Daveed

** Daveed says the last one above is "Wynnie's version".

Apparently she likes the way it sounds with the first half played second!

SAMAI THAQIL
[medium, syncopated]
1-+-2-+-3-+-4-+-5-+- 1-+-2-+-3-+-4-+-5-+-
D - - T - D D T - - == "basic"

also: [medium-tough, syncopated]

1-+-2-+-3-+-4-+-5-+- 1-+-2-+-3-+-4-+-5-+-
D - t k t t - - t k t k G - t k t t - - == line 1 of 2
D - - - D - - - T t - - t k t k t - t k == line 2 of 2

** Jas says the longer version is usually played slow.

SHOUSH
[medium]
1-+-2-+-3-+-4-+-5-+-
D tkk D T

SLOW FIVE
[medium]
1-+-2-+-3-+-4-+-5-+- 1-+-2-+-3-+-4-+-5-+-
D - k t - k t t D -

TURKISH 5
[easy-medium]
1-+-2-+-3-+-4-+-5-+-
D k t k t == Jas, Nott [medium]
D - k T - k T K D - == Daveed: Slow

D k T k T == Daveed: Fast #2 [medium]

D k t k K == Daveed: Fast #4

D k T k K == Daveed: Fast #5
D k D k k == Daveed: Fast #6

D k k D k == Daveed: Fast #7
D k k T k == Daveed: Fast #8

Base-6 hand drumming rhythms

You are here: Home > Drummer's guide > (here) Updated: 17-JAN-03

1 Notation key
 2 Buying a riq

3 Accompanying dancers
This page has notation and difficulty ratings for hand drumming rhythms (mostly
Middle Eastern) that can be done in multiples of six counts. Part of Kamuran's Guide
for Doumbek Players.

ANCESTRAL SPIRIT
[medium, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-
D--TT-T D D T - D T T -

** From a devotional song called "Spirit of the Ancestors"

on the CD "Fire Dance" by Brian Keane and Omar Faruk Tekbilek.

BASIIT
[medium, Andalusian]
1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+-
D k D tkT k t k D k t k

CHAUCKA / CHAKA
[medium, Daveed and Durr (1992)]
1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+-
D t k t k T t k t k D t k T t k D K == Daveed
D k k D k k D k k k D k k D k k D D == see below

** Nott: from Daveed [medium-tough]

D t k t k t t k t k D t k t t k D t == Jas
D t k t k T t k t k D t k T t k D T == Mas'ud; Nott: Durr

MOROCCAN / SOUFI / "TRANCE"

[medium, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+-
D - - K - k D - - - K - D - - K - K D - K - K - == Mas'ud: Soufi
D - - k - k D - - - K - D - - k - k D - K - K - == Daveed

D - d K - K D - d - K k D - d K - K D - K - K k == me

MOROCCAN 6
[tough, 5 lines of 6 count]
1-+-2-+-3-+-
D k k G k k == line 1 of 5
D k k G k G == line 2 of 5
D k k G k D == line 3 of 5
D k D D D D == line 4 of 5
D k G k G k == line 5 of 5

MUDAWWAR
[easy-medium, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-
D - T - D D D - - - T - == count 4-6-2

PERSIAN 6/8
[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-
D tkt T t -
D rrT t t t

1-+-2--3-+-4-+-5-+-6-+-
D tttK D t K ==
D tkkT D t K == how I'd play the above myself

SAMAH
[medium-tough]
1-+-2-+-3-+-4-+-5-+-6-+-
D - T T D - - - D D T T == line 1 of 3
D - T - - - T - D D T T == line 2 of 3
D - T - - - T - D - - - == line 3 of 3

SAWT 12
[medium, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-
D - - - T - - D d - T - == "open"

also: [medium] [tough - if you include part 2 and the delay]

1-+-2-+-3-+-4-+-5-+-6-+-
D k t k T k t D d k T k == "filled" (part 1, see below)

** Jas: full version has 2 parts, part 1 is filled as above; part 2

is the same, delayed by a 1/16 note! (if you're doing 12 count,
that's a half-count).

SERTO
[medium, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+-
D--kD--kTk-- D--kT--ktk--
SHA'BIA
[special, from Jas]
1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+-
T K T K D K T K T K T K == drum 1 (heart)
G - D - K G - K D - - - == drum 2 (lung)

** Heart = [easy-medium]; Lung = [medium]

Jas: "This is a Moroccan polyrhythm, unusual in Middle Eastern
music and hardly a polyrhythm by the standards of continental
African rhythm."

SHEESHTOSH
[medium, Persian]
1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+-
D - k t k - D - t - - - T - k t k - D - t - - - == Jas: "should swing"
D - t k t - D - t - - - T - t k t - D - t - - - == me (T/K switch)

SUDASI
[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-
D tkt D D tkt D D - T -

** Last strike could be a pop, roll, etc. for flair.

Not all maqsums are base-4...!

SUFI, MOROCCAN
[tough]
D k G k G k == line 1 of 5
D k k G k k == ..
D k G k G k == ..
D G k G k k == ..
D k k G k D == line 5 of 5

WHIRLING DERVISH
[tough]
1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+-
D---d- D---d- D-tk-k Dtktk-

YUGRIG
[medium]
1-+-2-+-3-+-4-+-5-+-6-+-
D-tkT-tdT---

** I'd consider playing the second Doum with the off-hand.

For rhythms that can be done in three or six counts, see the Base-3 page.

Base-7 hand drumming rhythms

You are here: Home > Drummer's guide > (here) Updated: 17-JAN-03

1 Notation key

2 Buying a riq

3 Accompanying dancers
This page has notation and difficulty ratings for hand drumming rhythms (mostly
Middle Eastern) that can be done in multiples of seven counts. Part of Kamuran's
Guide for Doumbek Players.

DAWR HINDI
[easy-medium, 17th century Persian?]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-
D t k t D t k t t k == Nott
D T T D - T - == Jas: count 3-4
D T k T k D t k T t k == Jas: filled

DEVRA HINDI
[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-
D - k D k T - == Jas, Kesslari

** Jas says "medium - slow"; I think he means medium volume, slowly

GREEK 7
[medium-tough]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-
D k k D k D k D k t k T k T ** count 3-2-2-4-3

KALAMANTIANO
[easy-medium, Greek]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-
D ktk D k D k
D k t k D k G k == [medium]
LAAZ / LAZ
[easy-medium, 7 count]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-
D - D - D k t == me: open
D k D k D k tk
D k D k D k t k == Jas
D k D k T - k == Kesslari

also: [medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-
D - t k - k D - t k t - t - == Nott: "Laaz"; (** also see Saidi)

MUHAJJAR
[medium-tough]
1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-
D t k D t k D t k t k T t k t k D t k == part 1
t k T t k t k T t k t k T t k T t k == part 2; Jas, Nott

D tkD tkD tkt k T tkt k D tk t k T tkt k T tkt k T tkT tk == both on one line

also: [medium, from Jas]

1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-
D D D - T - D - T - T - T T == count 4-2-2-6

ZENKOV
[tough, Russian]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-
+-4-+-5-+-
D - T - D - T - k D k D k T - k D - T - k

** Jas, Kesslari: 9-7-5 or 2-2-2-3-2-2-3-2-3

Base-8 hand drumming rhythms

You are here: Home > Drummer's guide > (here) Updated: 22-JAN-03

1 Notation key
 2 Buying a riq

3 Accompanying dancers
This page has notation and difficulty ratings for hand drumming rhythms (mostly
Middle Eastern) that can be done in even multiples of eight counts. Part of Kamuran's
Guide for Doumbek Players.

"AFRICAN DANCE"
[medium-tough, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
kDDkkD-k-DDkk-D-

** It's easy for me to slip into playing this one as if the rhythm starts on the first
Doum.

al-thaqIl al-awwal
[medium-tough, syncopated, Safi al-Din 13th c.]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
T t - T t - T t t - T - T t t - == count: 3-3-4-2-4

** See the bibliography on Jas's site.

Also see "First Thaqil" below and shorter versions on the Base-4 page.

al-thaqIl al-thAnI
[medium, syncopated, Safi al-Din 13th c.]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
T t - T t - T - T t - T T - T - == count: 3-3-2-3-3-2

"ARABIC"
[medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - tkt T tkD tk T tkD tkT T tkT

Bolero variation:
[medium, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - k - T - k - T - k - T - D - == me
D - t k t T - t k t T - t k t T - D - == ditto
D - t k t k T - t k t k T - t k t k T - D k == ditto
D - t k t k T - t k t k T - t k t k T t k D t k == ditto

** Javaria and I came up with this to go with Miserlou, it's easier than it looks.

BTAYHI
[medium, Andalusian]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
T k T k D tkT k T k D k T k D k

CHIFATELLI / CHIFFTATELLI / CHIFITITELLI / CHIFTETELLI / ciftitelli / shiftaatellii

[medium, Greek/Turkish]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - T T - D T - D - D - T - - - == open
D - t T - d T - D - D - T - - - == Mas'ud: open
D t k t T t k d T t k D t k D t k T - - - == Mas'ud: standard

D t k t T t k d T t k D t k D D T - - - == Mas'ud: alternate #1
D t k t T t k d k T t k D t k D k D k T - - - == Mas'ud: alternate #2
D tkt T tkd T P P P P P - - - == Mas'ud: alternate #3
D k t k t k T k t k d k T k t k D k t k D k t k T - - - == Mas'ud: closed

also:
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D t k t t T K D T T K D t k D D T - - - == Daveed
D - r t t k d T t k D - D - T - - t k == me: a variation
D t k T T t k D T t k D t k D t k T t t k t == ditto

D t k t t t k D t - D - D - t - - - == Jas #1
D tkt t tkD t tk D D t k t k t - == Jas #2

D tkt t tkD t t - - t t k - t t k - t - - - k == Jas #3 [medium-tough]

D - T K - K T - D - K k T - k k == Jas #4: "fast"

"DON'T TOUCH MY DESSERT"

[medium, from Laylia White - a dancer from Columbus, Ohio]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D T - D D tkT - D tktkT tktkT -

** The first half is Guwazi-like. The second half is pure Masmoudi (see below).

FIRST THAQIL
[easy-medium, syncopated, 13th century Arabic?]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - - D - - D - - - D - D - - - ** count 3-3-4-2-4
D - k D - k D - T - D k D - T - == a variation

MASMOUDI / MASMOODI / MASMUDI / maSmuudii

[medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - D - T - T - D - T T T - T - == open
D - D - t k t T - D t k t T t k t T - == Mas'ud: Arabic
D - D - t k t k T - D t k t k T t k t k T - == Mas'ud: Turkish

D t k D t k t k t k T t k D t k t k T t k t k T - == Mas'ud: busy
D - D - D t k T - D t k t k T t k t k T - == Mas'ud: 3 Doum
D k t k D k t k t k t k T k t k D k t k t k T k t k t k T - == Mas'ud: closed

also:
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - D - D - t - D t k t k t t k t k t t k == Jas: "walking"
D - D - t k t k t k D t k t k t t k t k t k == Jas: "warring"

D t k D - t k t k T k D t k T k t t k t k t T k == Jas: 3 beat syncopated

D k k D - k k t k T k D t K k T t K k T K == Jas: 3 beat variation
D k k D k k t k t k t k D k k t k t k k t k t k == see comment below

** Jas says: perhaps (this is a) more traditional hand pattern

also:
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D t k D t k T t k T t k D t k t k T t k t k T t k == Steve #1
D t k D S - S - t k D t k t k T t k t k T t k == Steve #3

D - k T - k t k D - k T - k t k == Steve #8

** Also see Masmoudi and Masmoudi Kebir in Base-4.

QAAYIM WA'NISF
[medium, Andalusian]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
T k T k D tkT k t k D k D k t -

SUFI, PAKISTANI
[medium, 8 count, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - - D - - D - D - t k t - t k == "moderate speed"

SWORD DANCE
[tough]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - D - t k - k D - t - t k t k == part 1
D - D - r k - k D - t k t k k t - k == part 2; Nott
D - D - r k - k D - tktkt k t k == Steve [medium-tough]

TAXIM / TAQSIM
[tough, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - - - - - t k - T - - - t T - D - D - P - - - == Steve #1
D - - - t k - T - - t - T - - - D k D k P - - - == Steve #2
D - - - t k - t - t k - t - - - D k D k T t k t k == Steve #3

also:
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - - - t k - t - t k - t - - - t k T t k T t k P - - == Steve #4
D - - - r - S - - t k - T - - - r - r - s - - - == Steve #5
D - r S - r S - t t T t t T t t T - - == Steve #6 [medium-tough]

THOMAS'S ADDITION
[medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D tkT - D tktkT D tktkT D D T -

** From a drummer named Thomas who brought it from parts West. As you can see, it
has
elements of Chifititelli and Masmoudi, so we came up with nicknames like Chifti-
moudi,
Mastitelli, and 'Mood Shift'. Thomas was at the informal jam sessions that would in
only
a few months evolve into a band called Peach Curry. (Kamuran is the lead drummer
for
said band.)

WAHIDAH 4 - also called Bambi

[medium, syncopated, Arabic?]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
D - t k - k t - t k - k t - k - == Nott
D - T K - K T - T K - K T - K - == Jas: usually played fast

D D D T K - K T - T K - K == Jas: variation

"337355" - I learned it without a name

[medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-
tkD tkD tktktkD tkD tktkD tktkD
t D t k D t k t t D t k D t k t D t t k D == one variation
** Count 3,3,7 then 3,5,5
** Could also mix 'em: 3-7-3, 5-3-5 (and so on - Kamuran likes doing this).
** Could also count 2-2-4, 2-3-3

For shorter rhythms that can be counted in 4 or 8, see the Base-4 page.

Base-9 hand drumming rhythms

You are here: Home > Drummer's guide > (here) Updated: 17-JAN-03

1 Notation key

2 Buying a riq

3 Accompanying dancers
This page has notation and difficulty ratings for hand drumming rhythms (mostly
Middle Eastern) that can be done in multiples of nine counts. Part of Kamuran's Guide
for Doumbek Players.

AKSUK
[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-
D t k T t k D t k T K K == also see Karsilama below

AQSAQ (A'RAJ)
[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-
D - T K D - T - T

** Jas says count 4-2-3, I prefer 2-4-3

KARSILAMA / KARSILAMAS / KARSHLAMA / KASHLIMAH / KAHSLIMAH

[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-
D - T - D - T T T == Mas'ud: open
D - T - D - T K K == Daveed: open variation
D t k T t k D t k T T T == Mas'ud: standard

** Kesslari has a sound clip for this one (above)

D D D - T - T - T == Mas'ud: reverse
D D D T - T - T - == another reverse

also:
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-
D t k D t k T t k t k T T == Jas #5: Gypsy style/variation

also:
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-
D - t k T t k D T T T == Steve #2
D - P - t k D P P P == Steve #4 [medium]

D tkT tkD tkD r S == Steve #6 [medium]

T tkD tkT tkT D T == Steve #7

** Jas: Karsilama means "face to face" in Turkish

ZABEC
[easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-
D t t D t D t t D t t == "Ayube variant"

also: [medium, 18 count]

1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-
D d tkt d tkt - D D tkt D tkt - t -

** "Maqsum variant". Sounds like two Baladi with a Tek chaser, doesn't it?

ZEIBEKIKO / ZEMBEKIKO / ZEYBEK

[medium, Greek]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-
D t - t D t - - D t - t D t - - t - == open
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"
D - t t D - t - D - t t D - t - t - == "variant"

For rhythms that can be counted in even multiples of six beats, see the Base-6 page.
 11/13/19-count hand drumming rhythms
You are here: Home > Drummer's guide > (here) Updated: 2-APR-03

1 Notation key

2 Buying a riq

3 Accompanying dancers
This page has notation and difficulty ratings for hand drumming rhythms (mostly
Middle Eastern) with certain prime numbers of counts: 11, 13, and 19. Part of
Kamuran's Guide for Doumbek Players.

AL'AWIS
[easy-medium, 11 count]
1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-
T D - T D - T T D D - == Jas: count 3-3-5

AWFAR
[medium-tough, 19 count, 17th century Persian?, from Jas]
1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-
+-
D - D - - - T - T - D - D T - T - - -

** Jas: count 6-4-2-7

KOPANITSA
[easy-medium, 11 count, Bulgarian, from Kesslari and Jas]
1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-
D k D k T - k D k T -

MURABA
[medium-tough, 13 count, from Jas]
1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-
D - T t k t k D t k t k t k t k == filled (part 1)
T t k t k T t k t k D t k t k ============ filled (part 2)

D T tkt k D tkt k t k t k T tkt k T tkt k D tkt k == both on one line

also: [medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-6-+-
D T K D - T - T - T T D -
MURASSA SHAMI
[medium-tough, 19 count]
1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-
+-
D - T T D D T D - T K D - T - T - T T

** Jas: count 4-5-4-6

NEDA VODA
[medium, 11 count, from Jas: modern? Macedonian porch song]
1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-
D tkt tkD tkt tkD D -

ZARAFAT
[medium-hard, 13 count]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-
D - - T - - D - D D T - - == Jas
D k k T k k D k D D M k k == from Mr Quentin Shaw on GDG **

** Quentin refers to this as "Sumi Zharaphat" and says it's of Babylonian/Iraqi origin
He makes and sells unique metal hand drums. (The page has excellent pictures of his
work.)
Let him know Kamuran sent you... (grin)