This is a list of various drum circle rhythms I enjoy playing. It's my interpretation of them. There are a few different ways I like to notate, and/or and vocalize the start of a drum circle rhythm. Print it out if you want to. I like to help people enjoy drumming more. The list might make a good guideline, set list, or just some fun stuff for you and your friends to try out. Here they are:
KC & The Sunshine Band inspired drum circle rhythm:
"That's The way, Uh Huh, Uh Huh, I like It, Uh Huh Uh Huh"
♫♫ Doum ka-tek, ka-DoumDoum Tek, KaDoum ka-tek, ka-DoumDoum Tek ♫♫♫
(I guess that disco era helped me out after all!)
Good start up drum circle rhythm: ♫♫ "Yum Yum Tastes Like Ckic-Ken" ♫♫ (Just like it sounds) - doum doum tek-ka tekka, doum doum tek-ka tekka ♫♫
♫♫ An easy way to get a Clave drum rhythm jamming is to remind people of the beat to songs like "Mockingbird" or "Hand Jive" ♫♫♫
Sly & The Family Stone inspired beat. Boom sha-ka la ka, Boom sha-ka-la-ka
Word association is a great way to get a 6/8 drum circle rhythm going.
♫♫♫ Fol-low-the-yel-low-brick-road-go-do-pa-ta-pa ♫♫♫
The "conga line" rhythm usually turns into a good drum jam. On the Doumbek:
♫♫ doum-ka, doum-ka, tek--tek. ♫♫ Or on the Djembe: gun-pa, gun-pa, go--do ♫♫
or just feel the rhythm vamp to MJ's “Thriller".
Variation of an African drum rhythm Gunazi. ♫♫ Boom sha-ka Boom Boom, shakala, Slap!, Boom sha-ka Boom Boom, shakala, Slap! (or some accented tone at the end) ♫♫
♫♫ Cuckoo! ♫♫ Common commercial jingles make fun drum circle rhythms:
Cuckoo for cocoa Puffs - Shaka-sha-lakaBoom, Shaka-sha-lakaBoom
Drum circle rhythm with a Brazilian flair to it:
♫♫♫ Doum--ka-tekka--Doum--ka-tek-ka,- Doum--ka-tekka--Doum--ka-tek-ka ♫♫
♫ Boom-Boom chakachaka ping ping ping! ♫♫ (gun dun patapata slap slap Slap)
Masmuudii 316 - A fun drum circle rhythm that rolls like a freight train
♫♫ D---D---t-k-T-k-D-tktkt-TktkT-t (repeat 4/4 time) ♫♫
Idol inspired Balloon Boy Drum Circle Rhythm ♫ oom-pah---oom-pah---oom-pahpah__oom-pah---oom-pah---oom-pah-barf ♫ (start with dominant hand, RL,RL,RLR__LR,LR,LRL) Bass, tones, and etc. (Alternate to balance both sides of the body.)
"Bambii" A cool drum circle rhythm -
Doum-tekka-katek-tekka-kaDoum-Doum__Doum-tekka-katek-tekka-kaDoum-Doum Doum ♫♫♫ (It's in 4/4 time, the 3 Doums at the end is what makes this one really groove.)
(Or, try it filled: Dk kT kk Tk kT kk D D)
Nice support rhythm to start at the drum circle:
♫♫ Boom sha La-ka Boom Boom-Cha__Boom sha La-ka Boom Boom-Cha ♫♫
♫♫ Cool drum circle rhythm Karsilama 3, it has a triplet at the end:
D-kkT-kkD-kkT-T-T (2+2+2+3) (Shorthand notation on this one.) ♫♫♫
Addictive drum rhythm that's similar to the rhythm Ayyub ( D k-D t )
On the Doumbek: ♫♫ Doum tek-keh Doum tek (repeats and builds) Or on the Djembe: Gun go-do Gun go ♫
Tootie Fruitie Drum Circle Jam - ♫ Wop-baba-lou-bop__a-wop-Bam-Boom, Wop-baba-lou-bop__a-wop-Bam-Boom ♫♫ (I think Little Richard might dig us drumming to this.)
Sweet drum circle rhythm: ♫♫ Boom - che-boom_che-boom-a-choc_o_late__choc_o_late, (dramatic pause) Boom - che-boom_che-boom-a-choc_o_late__choc_o_late ♫♫♫
Drum to rhymes or phrases to start a 6/8 drum circle rhythm rolling:
♫ You-huff-and-you-puff-and-you-blow-the-Gun-Dun-go-do ♫
♫♫ Saiidi Drum Circle Rhythm - Doum tekka tekka doum doum tekka-Tek ♫♫
Beledi - Zaffah variation, Boom chick-a chick, Boom Boom _ chick-a-chick-a boom.
Gawazi - a great drum circle rhythm for dancers
♫♫ D tkD D tkt tktk, D tkD D tkt tktk ♫
Slower grooving drum rhythm. Usually a hit with beginners & pros -
♫ Boom, sha-La-Ka-Boom-Boom (pause) Boom, sha-La-Ka-Boom-Boom ♫
♫♫ A fun variation of the Chifitelli rhythm (played nice and slow)
Doum, tek-ka tek-ka doum doum Tek (pause) Doum, tek-ka tek-ka doum doum Doum. ♫
Zaffah drum rhythm (As far as I know it's an Egyptian wedding processional in 4/4 time.) D-tkt-t-D-t-t-tt (repeat)
One of my favorite drum rhythms:
Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum Doum Tek. (pause, and repeat)
This drum circle rhythm has kind of a hip hop feel to it. (4/4 time) ♫♪ Doum Doum, kaTek-doum, kaDoum Tek, ♫♪ Doum Doum, kaTek-doum, kaDoum Tek (fun!)
♫♫ Boom ShaLa-Ka BoomBoom (pause) Boom ShaLa-Ka BoomBoom (pause) ♫♫ This drum circle rhythm played nice and slow has a spiritual vibe, it’s good one to get the group in sync. Great for 3 djun djuns.
♪♫♪ A good warm up rhythm, or drum circle starter is the basic drum circle standard Doum Ka-Tek Ka, Doum Ka-Tek Ka, (or) Boom Sha-La Ka, Boom Sha-La Ka in 4/4 time. If played softly at a slow tempo, you can speak to the rhythm and welcome people, etc. It's also great for someone who does spoken word, or even a budding rapper. Makes for some great improvised fun. We had this guy who used to bust out some great rhythms and stories to this one.
An intriging drum circle rhythm in a count of "7" (1-2, 1-2, 1-2-3) Triplet at the end. Sounds like this: Doum(rest) Doum(rest) tek-ka-tek or Doum_Doum_tek-ka-tek, Doum_Doum_tek-ka-tek ♪♪♪ Interesting stuff happens, or you get a train wreck. But that's half the fun, taking a risk.
♫ One of many Native American heartbeat drum rhythms in 4/4 time, mellow bass notes: Boom__boom__boom,boom,boom, - (1 & 2 & 3 & 4 &) Boom__boom__boom,boom,boom - ♫♫
♫♫ Doum-Tek-Ka Doum-Tek-Ka Doum__Tek, Doum-Tek-Ka Doum-Tek-Ka Doum__Tek, ♫♫ Start with a real slow tempo and it's a trance rhythm. Speed it up and it rocks! ♫♫
A Tabla rhythm, but fun to try on a djembe or doumbek: ♫ da-di ki na doum, da-di ki na doum. ♫
This drum circle rhythm the bellydancers request a lot. It's a Greek line dance in 2/4
♫ Doum-tekkatek-tek, Doum-tekkaDoum-tek. ♫♫ It has a nice groove once it gets going.
Here's a basic Irish beat that sounds like this: Boom-ba-da-ba, Boom-ba-da-ba Boom, Notated in Bodhran speak, it looks like this: 0 \/ /\ \/, 0 \/ /\ \/ 0, - Have fun and add some more beats to it: - Boom-ba-da-ba-da-ba-da, Boom-ba-da-ba-da-ba-da Boom.
Just a little to the North of us is Tarpon Springs, which has a large Greek population. This drum circle rhythm is the same one the Greek national hymn goes to: ♫ Doum-tekkaTek-tek-Doum-tek-, Doum-tekkaTek-tek-Doum-tek ♫
♪♫ This 4/4 drum circle rhythm has a "hand clap" in it, which adds to the fun & creates a new dimension. Doum Tek-Ka, Doum Tek-Ka, Doum Tek Clap, (pause, repeat phrase) I suggest playing it at a slow tempo, and it gets people laughing if you make the hand clap a high five to the person on their right. ♪♫
Speaking of clapping, the clapping beat at the beginning of the song "Car Wash" makes a jovial drum circle rhythm. ♫ doum, doum, doum ka-tek ka tek! (pause) ♫ doum, doum, doum ka-tek ka tek!
♫♫♫♫ Bolero Drum Circle Rhythm in 4/4 time, the accents are in caps:
Doum tekkaTek ka tek ka tek ka, Doum tekkaTek ka tek ka tek ka ♫♫♫♫
♫ Word association is a great way to get a drum circle rhythm going especially with kids: "The people on the train go round and round" ("The" is a whole note, "people on the train" all quarter notes, "go round and round" half notes, and there is a pause at the end. ♫
♪♫♪ ♪♪♪ Another "sweet" drum circle rhythm Agilablanca in 4/4: I-like-to-eat__choc-late-cake, (pause, repeat) ♪♪♪ (the 1st half is all tones, the last half is all bass notes)
A variation of an Egyptian drum rhythm called ♫ Karaatshi ♫ in 2/4 time:
Doum-tekkatek-tekkaDoum-tekkatek-tekkaDoum
Less sometimes really is more. A simple beat can make a great drum circle rhythm starter, (and really please the “players”) : ♫ Doum-Doum (pause) Doum-Doum (pause, repeat) ♫ Or, Gun-Dun (pause) Dun-Gun (pause) ♫
Kind of like the rhythm Ayyub (D k-D t, D k-D t) it leaves plenty of space to add fills, solos, and to improvise.
A good party drum circle rhythm we played at the last Mardi Gras: ♫♫ The roof, the roof...the roof is on Fire! ♫♫ Say it then play it. doum Doum, doum Doum...ka tek-ka Ka Tek! ♫♫
♫♫♫ Interesting yet challenging drum circle rhythm in 6/8 sometimes known as Darj:
D-TkT-D-T
1-+-2-+-3-+-
An Egyptian drumming rhythm called ♫♫♫ Jaark ♫♫♫ in 4/4 time:
D-kkT-tkDDtkT-tk, D-kkT-tkDDtkT-tk
Occasionally after a couple of hours of drumming, people run out of good group drum circle rhythms to start out with. People will look around and say, “Anyone got a rhythm to start out with?” This djembe support rhythm always turns into a good drum jam. It’s in 4/4 time:
Go Do pata padaTa, Go Do pata padaTa (Go and Do are 1 & 2, the Ta is a slap tone)
(I use "da" as a closed tone note, or as a different softer lower pitched sound between "pa" and "ta".)
1, 2, 3, 4, Try tapping your foot on the 4 counts as you play it. Or here is 2 measures, count to 4 twice, D D tk ktT, D D tk ktT
Here’s another djembe support rhythm to try, the gun and dun are all bass and the rest tone notes, in 4.4 time:
Gun pa gun-dun, Gun pa da-pa, (half beat pause and repeat the phrase) Gun pa gun-dun, Gun pa da-pa. If there’s any good soloists, or even djembe cowboys in the house, they will love you for it. lol
Drum circle rhythm WaaHida in 4/4: 1+2+3+4+
♫♫ Doum-tekkatekkaTek-tekkatekkaTek-ka-, Doum-tekkatekkaTek-tekkatekkaTek-ka-,
Drumming out a waltz? It may sound like a bit of a yawner, but honestly, I think the drum circle waltz is a great way to balance the mind, body, and help get people firmly grounded. Once it gets rolling, it can always easily transition to a snappy 6/8 rhythm. It's an especially good rhythm for groups of beginners. Try to get them to alternate hands, R-L-R, L-R-L (Gun-do-go, Dun-go-do) Accent on the 1st bass note. The key to this one is to keep it at a slow tempo for awhile.
Try drumming out "Morse Code" rhythms. Ask someone to suggest 2 letters, or numbers, and put them together to make a new drum circle rhythm. ♫♫ _ _...._ _ ♫♫ A dot is a tone, and a dash, is a bass note. Sometimes they work, & sometimes they don't, that's part of the fun. There’s a Morse Code alphabet chart on my site drumcircles.net
An interesting drum rhythm known in some cultures as Sabamaa. Played in 4/4 time.
♫♫ D-TkTkT-D-TkT-Tk, D-TkTkT-D-TkT-Tk ♫
Again, try tapping your foot as you play. 1-2-3-4
D-TkTkT-D-TkT-Tk
1e+a2e+a3e+a4e+a
I dig this drum circle rhythm because of the long pauses. It gives the bass a chance to resonate a little bit. It’s in 4/4 time - ♪♫ Doum---tekkatek-tek-Doum---tek-, Doum---tekkatek-tek-Doum---tek-, ♫♪♫♪
♪♪♪♪♪ A basic yet fun drum circle rhythm sometimes called the Turkish 5. Plenty of room for fills. It's in 5/4 time, all the beats are on the numbers:
1+2+3+4+5+
D k t k t
Fun djembe support rhythm for the drum circle: ♫ Gun Dun godo pa-ta-pa, Gun Dun godo pa-ta-pa ♫♫ (or) Doum Doum tekka ka-tek-ka, Doum Doum tekka ka-tek-ka ♫
"A Drum Circle Rhythm You Can't Refuse" ♫♫ Ba-da Bing, Ba-da Boom, Ba-da Bing_Bang_Boom, ♫♫ (or) Go-do Pa, Pa-ta Go, Go-do Pa_Ta_Pa ♫♫
"Little Drummer Boy" Christmas drum rhythm, if you can hum it, you can drum it!
♫♫♫ Let's All Play Our Drum...Pa - Rum Pa PumPum...Rum Pa PumPum ♫♫♫
Sort of a trance drum circle rhythm. ♫♫ Doum-tek-ka-Doum-tek-ka-Doum-tek, Doum-tek-ka-Doum-tek-ka-Doum-tek ♫♫♫♫
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Sometimes to have a great drum circle rhythm jam, it needs a great ending. Rather than the usual fade out, or rumble ending, try this out. I usually mention the idea to the group, and we quickly practice it in advance before we start, so everyone is ready. Like about a 30 second rehearsal. Then get right to the rhythm you had planned to play. For me, 4/4 time works the best. The end is 9 tones then 2 bass notes. Repeat 6 times with a pause between each rep. As we are still playing, I will holler out, “Okay, here comes the ending! And count them down out loud. “ 1 2 3 4 5 6 7 8 9 boom boom, (pause) “5 more” 1 2 3 4 5 6 7 8 9 boom boom, (pause) “4 more times” etc. ♪♪♪♪♪♪♪♪♪_♪_♪_
Another fun ending is 5 tones followed by 3 bass notes. A 1 beat pause and repeat them whole thing 6 times. After the rhythm has run it's course, get everyone's attention & say, "ok here comes the ending", and go right into it. 12345_1_2_3 (Again, I count the reps down out loud), "5 more times" and we play, tek ka tek ka tek, doum_doum_doum. “4 more times” etc. ♪♪♪♪♪_♪_♪_♪_
The fun thing about these drum rhythm endings is that they all catch on after the 2nd or 3rd rep. and all end together. On the last one, everyone usually stops in unison, then a big whoosh of silence, followed by smiles claps and pride. It's very cool, and a good confidence builder. To help this work smoother, I usually I quickly practice the ending in advance with the group before we start, and then go right into it, so they are prepared when the time comes.
Bring along a hula hoop to ramp up the fun at your drum circle. It gives people a rhythmic motion to groove to. I was surpised when I saw people of all different ages wanting to get in there and try it. The drum rhythm Beledi is a good one to use. D D tkT D tkT(pause)D D tkT D tkT ♫♫. 4/4 time, it sounds like: Doum Doum tek-ka-Tek, Doum tek-ka-Tek. {One of my dancer friends said the Beledi rhythm is the "Catnip Rhythm" for belly dancers. lol. I like that.)
I hope this list helps you and your friends to enjoy drumming more. I also have this rhythm list in Word.doc format at my website. You can download and print it free. If you are new to drumming, and would like some more in depth info on reading, understanding, and playing transcribed drum circle rhythm notations, please read a few of my older my blog posts for 2010. I put my older blog post list of rhythms together, and added a few more so they are all in one place, and this is it.
If you would consider picking up my drum circle rhythms DVD, I would appreciate that, and it would help out a little bit. Thanks in advance if you do. The 2 hour DVD will show you how to play over 100 diffferent rhythms for $15. Please visit drumcircles.net for the DVD and more.
Shannon Ratigan
drumcircles.net
Copyright © Shannon Ratigan All Rights Reserved.
Showing posts with label drum circle rhythms djembe beats doumbek drumming. Show all posts
Showing posts with label drum circle rhythms djembe beats doumbek drumming. Show all posts
Saturday, December 4, 2010
Thursday, November 4, 2010
Including Everyone At The Drum Circle
It’s often the case that a drum circle will draw people who have never drummed before. But, there may also be some very advanced drummers, as well as everything in between. Keeping the circle interesting for the advanced without intimidating the beginners requires a bit of a different approach than one often finds. Many drum circle facilitators tailor their programs purely for the beginners. Most people have music in their backgrounds, so it makes sense to not only include and welcome them, but to create an environment where they are free to share their gift with everyone.
I try to keep the drum circle accessible to all skill levels, because many times people will be transitioning in and out of the circle as it’s going on. So my approach to it needs to be a bit different. Most of the time when I’m introducing a new rhythm, I will make up words to go with the beat. For example, “I like chocolate cake.” for doum-doum-teka-tek. People seem to find the combination of words and hearing the beat makes it easier to follow, and the brain can process it faster. I also start the beat very slowly, vocalizing the words as I do. This also makes it easier for me to hear whether everyone is able to follow along.
Once the group is in sync, I can start to slowly speed it up to tempo if people are feeling it. Then we can then add in more complex variations. And I always encourage people to improvise from the beginning. It is, after all, just the support rhythm – it’s just a starting place. Volume is something I address early on. If it’s too loud it’s unpleasant for most people. So during the first few rhythms after it is locked in, I will decrescendo gradually but keep the tempo up. People will have to play softer to hear what’s going on, and this sends the message without having to actually say it. Now they are listening to you play, and everyone else as well.
Somebody has to hold that bottom beat, or support rhythm or you can end up with banging noise chaos, or the rhythm speeding up out of control. People trying to out drum the others. End result – not much fun. It’s true that holding the support rhythm does create a dependency, but until the rhythm is locked in, you kind of need to be there for that. Or somebody does. Train wrecks do happen. Laugh it off, and move on to a slower tempo rhythm to reenergize the fun.
I prefer to facilitate from the side of the drum circle rather than in the center. To me the center is a place for people to explore, and for self expression. Dancing, hooping, etc. By facilitating from the side, I am just a part of the circle, part of the group, rather than an obvious leader in the center conducting something. Plus, I want to enjoy the experience as well, so by going back to my place in the side of the circle I can be a participant, as well as a facilitator. (If that is my role.)
If I have some good drummers whom I know show up, I can count on at least one of them to just hold the bottom beat. This helps newbies to return to the beat if they get a tad lost. Once I sense that the rhythm is solid, once or twice during the evening’s circle I will slowly walk around the interior of the drum circle playing the rhythm near each of the drummers. Not too close, or for too long to make them uncomfortable or get in their space, but just enough so they can hear my saying “hello, welcome, glad you are here”, with my drum. As I do, I listen to skill levels, and watch to see who might be experiencing drum confusion. I’m also enjoying the solid drummers, and/or soloists.
My experience has taught me there is always somebody out there who is a better drummer than me. Often more than one at any given drum circle I might me hosting or facilitating. Rather than being competitive, I would rather have them as an ally, so they can share their gift with the group. I want them on my side. At some point, I welcome them to come stand next to me and let them know I welcome their ability and their talent. I vibe them that it’s cool if they are a better player – hey lets just have some fun making music together. A simple smile as we are playing can send that message clearly.
I’m cool that they can solo, or play better than me. That sets things at ease right away, and that possible alpha male – djembe cowboy thing is never an issue. I will usually just hold a solid support rhythm so they can feel free to solo, or get down on a beat. More often than not, the entire group enjoys it, and the excitement level is ramped up a notch. Offer to let them start out the next rhythm if they wish. Some will want to, some won’t. Let them know it’s cool either way. Offer to let anyone start out a rhythm. It’s taking a risk, but that’s part of the fun, taking chances. It is after all, a drum circle, not brain surgery. After that, the serious players drift back into being an ensemble player, and a solid part of the group.
Another key thing I try to do after a rhythms ends, is acknowledge anyone who stepped up and took a risk. Did some outstanding drumming, some hula hoping, bellydancing, or whatever. It takes some stones to get out there and do that. So at the rhythm’s end after the applause, I make it a point to say, “How about a nice hand for that amazing soloing, or fantastic dancing! By…” etc. I mention their name if I can remember it, or simply ask them what their first name is so I can do it proper. They deserve it, and again the message to the group is hey it’s not all about me, it’s about the group.
When I am making my interior stroll around the interior of the circle, there is a few things for me to consider, and honestly, it comes with experience. The more you do it, the easier it is. It takes time to assess if a person is confused, or if they are just kicking back enjoying things for a bit. It’s important to remember that all those who may be wandering, are not always lost. If I do find someone obviously trying to figure things out, I don’t say anything, but just stand next to them for a few measures, so that they can feel and hear the beat and also see my hands if they want to. I will usually smile or offer a wink hello, but contact is made more with the sound of my drum. I don’t want people to feel uncomfortable, I’m just playing next to you for a few moments to say hello, and help them get a handle on the beat. But I’m also accessing skill levels and offering that basic rhythm if someone needs it.
I rarely make much eye contact, because that tends to make it more obvious that I might be helping someone along. If the person is really struggling, I will do this with just the basic beat, sometimes even just the bottom beat. Once they get comfortable with that, I move on to the next one in the group. I try to stop and play a bit even next to the really good drummers also, so that those who are struggling do not feel singled out, and it seems I am just welcoming everyone the same way. The entire process of my circle wander may take 5 minutes at the most. But this is one of the mechanical things I do at every drum circle I facilitate. Once or twice during the evening at most. The most I will ever say, (Quietly with a smile of course) is “Hey, how’s it going, nice to see you. That sort of thing. But I continue playing, all the time. I want to be a part of the group, and not put anyone on the spot. But if someone wants the spotlight, I offer it to them.
I also want to encourage those people who are in the back perimeter standing around and listening to the music. I like to put a few wicker baskets of percussion “toys” around the space. Some pieces are actual, real percussion instruments. But, a lot are throw away, homemade items. For example, large painted vitamin bottles with macaroni inside (uncooked, LOL) and taped shut makes a decent shaker. I also include inexpensive tambourines, guiros, and maracas. None of these are very loud, so that people can just pick one up and play along without being afraid of messing up the rhythm or drawing attention to themselves. It really increases the fun factor for people when they participate, on whatever level they are comfortable with. It encourages the onlookers, and possibly timid to join in when they feel ready.
I make it a point during the circle to let them know the toys are out there, and to join in whenever you wish. If you are trying to start an ongoing drum circle, you want them to leave wanting to come back for more. They will tell their friends how much fun they had at that drum circle last night, it creates a buzz of talk about it in your area. That’s a key to creating a solid community happening. Word of mouth. Of course Face Book helps to. LOL.
My opinion is that getting people to relax and have fun is what brings the true magic into a drum circle. Most people get something special from it and I feel that this is the true value on the community. Music making that is the essence of drum circles. To me, it is more about the people, rather than the quality of the music. But generally the more fun people are having, the better the musicality is. Check out my book on hand drumming and drum circles. It’s 300 pages jammed with ideas, tips, and suggestions. Pick it up on Kindle for $10. Or a physical copy at my website for $18. I include a free drum circle jam CD if you pick it up from me direct. Thanks in advance for helping an independent musician.
Shannon
drumcircles.net
I try to keep the drum circle accessible to all skill levels, because many times people will be transitioning in and out of the circle as it’s going on. So my approach to it needs to be a bit different. Most of the time when I’m introducing a new rhythm, I will make up words to go with the beat. For example, “I like chocolate cake.” for doum-doum-teka-tek. People seem to find the combination of words and hearing the beat makes it easier to follow, and the brain can process it faster. I also start the beat very slowly, vocalizing the words as I do. This also makes it easier for me to hear whether everyone is able to follow along.
Once the group is in sync, I can start to slowly speed it up to tempo if people are feeling it. Then we can then add in more complex variations. And I always encourage people to improvise from the beginning. It is, after all, just the support rhythm – it’s just a starting place. Volume is something I address early on. If it’s too loud it’s unpleasant for most people. So during the first few rhythms after it is locked in, I will decrescendo gradually but keep the tempo up. People will have to play softer to hear what’s going on, and this sends the message without having to actually say it. Now they are listening to you play, and everyone else as well.
Somebody has to hold that bottom beat, or support rhythm or you can end up with banging noise chaos, or the rhythm speeding up out of control. People trying to out drum the others. End result – not much fun. It’s true that holding the support rhythm does create a dependency, but until the rhythm is locked in, you kind of need to be there for that. Or somebody does. Train wrecks do happen. Laugh it off, and move on to a slower tempo rhythm to reenergize the fun.
I prefer to facilitate from the side of the drum circle rather than in the center. To me the center is a place for people to explore, and for self expression. Dancing, hooping, etc. By facilitating from the side, I am just a part of the circle, part of the group, rather than an obvious leader in the center conducting something. Plus, I want to enjoy the experience as well, so by going back to my place in the side of the circle I can be a participant, as well as a facilitator. (If that is my role.)
If I have some good drummers whom I know show up, I can count on at least one of them to just hold the bottom beat. This helps newbies to return to the beat if they get a tad lost. Once I sense that the rhythm is solid, once or twice during the evening’s circle I will slowly walk around the interior of the drum circle playing the rhythm near each of the drummers. Not too close, or for too long to make them uncomfortable or get in their space, but just enough so they can hear my saying “hello, welcome, glad you are here”, with my drum. As I do, I listen to skill levels, and watch to see who might be experiencing drum confusion. I’m also enjoying the solid drummers, and/or soloists.
My experience has taught me there is always somebody out there who is a better drummer than me. Often more than one at any given drum circle I might me hosting or facilitating. Rather than being competitive, I would rather have them as an ally, so they can share their gift with the group. I want them on my side. At some point, I welcome them to come stand next to me and let them know I welcome their ability and their talent. I vibe them that it’s cool if they are a better player – hey lets just have some fun making music together. A simple smile as we are playing can send that message clearly.
I’m cool that they can solo, or play better than me. That sets things at ease right away, and that possible alpha male – djembe cowboy thing is never an issue. I will usually just hold a solid support rhythm so they can feel free to solo, or get down on a beat. More often than not, the entire group enjoys it, and the excitement level is ramped up a notch. Offer to let them start out the next rhythm if they wish. Some will want to, some won’t. Let them know it’s cool either way. Offer to let anyone start out a rhythm. It’s taking a risk, but that’s part of the fun, taking chances. It is after all, a drum circle, not brain surgery. After that, the serious players drift back into being an ensemble player, and a solid part of the group.
Another key thing I try to do after a rhythms ends, is acknowledge anyone who stepped up and took a risk. Did some outstanding drumming, some hula hoping, bellydancing, or whatever. It takes some stones to get out there and do that. So at the rhythm’s end after the applause, I make it a point to say, “How about a nice hand for that amazing soloing, or fantastic dancing! By…” etc. I mention their name if I can remember it, or simply ask them what their first name is so I can do it proper. They deserve it, and again the message to the group is hey it’s not all about me, it’s about the group.
When I am making my interior stroll around the interior of the circle, there is a few things for me to consider, and honestly, it comes with experience. The more you do it, the easier it is. It takes time to assess if a person is confused, or if they are just kicking back enjoying things for a bit. It’s important to remember that all those who may be wandering, are not always lost. If I do find someone obviously trying to figure things out, I don’t say anything, but just stand next to them for a few measures, so that they can feel and hear the beat and also see my hands if they want to. I will usually smile or offer a wink hello, but contact is made more with the sound of my drum. I don’t want people to feel uncomfortable, I’m just playing next to you for a few moments to say hello, and help them get a handle on the beat. But I’m also accessing skill levels and offering that basic rhythm if someone needs it.
I rarely make much eye contact, because that tends to make it more obvious that I might be helping someone along. If the person is really struggling, I will do this with just the basic beat, sometimes even just the bottom beat. Once they get comfortable with that, I move on to the next one in the group. I try to stop and play a bit even next to the really good drummers also, so that those who are struggling do not feel singled out, and it seems I am just welcoming everyone the same way. The entire process of my circle wander may take 5 minutes at the most. But this is one of the mechanical things I do at every drum circle I facilitate. Once or twice during the evening at most. The most I will ever say, (Quietly with a smile of course) is “Hey, how’s it going, nice to see you. That sort of thing. But I continue playing, all the time. I want to be a part of the group, and not put anyone on the spot. But if someone wants the spotlight, I offer it to them.
I also want to encourage those people who are in the back perimeter standing around and listening to the music. I like to put a few wicker baskets of percussion “toys” around the space. Some pieces are actual, real percussion instruments. But, a lot are throw away, homemade items. For example, large painted vitamin bottles with macaroni inside (uncooked, LOL) and taped shut makes a decent shaker. I also include inexpensive tambourines, guiros, and maracas. None of these are very loud, so that people can just pick one up and play along without being afraid of messing up the rhythm or drawing attention to themselves. It really increases the fun factor for people when they participate, on whatever level they are comfortable with. It encourages the onlookers, and possibly timid to join in when they feel ready.
I make it a point during the circle to let them know the toys are out there, and to join in whenever you wish. If you are trying to start an ongoing drum circle, you want them to leave wanting to come back for more. They will tell their friends how much fun they had at that drum circle last night, it creates a buzz of talk about it in your area. That’s a key to creating a solid community happening. Word of mouth. Of course Face Book helps to. LOL.
My opinion is that getting people to relax and have fun is what brings the true magic into a drum circle. Most people get something special from it and I feel that this is the true value on the community. Music making that is the essence of drum circles. To me, it is more about the people, rather than the quality of the music. But generally the more fun people are having, the better the musicality is. Check out my book on hand drumming and drum circles. It’s 300 pages jammed with ideas, tips, and suggestions. Pick it up on Kindle for $10. Or a physical copy at my website for $18. I include a free drum circle jam CD if you pick it up from me direct. Thanks in advance for helping an independent musician.
Shannon
drumcircles.net
Monday, August 30, 2010
Drumming Up The Golden Ratio & The Center Of The Drum Circle
It’s not about gold plating your djembe to increase the value of your portfolio. The Golden Ratio can apply to drumming. It dates back at least to the ancient Greeks, who noticed that certain proportions in architecture resulted in a more visually appealing construction. Since then, it has become a standard of design for art as well. The mathematics are complex, but not necessarily required. The interesting thing is that it applies to music, also. There it refers to relationships of chord progressions and harmonics. Many of the great classical composers, as well as current ones, utilize this.
For percussion, in drum circles, and even in bands, the application is more subtle. Combinations of rhythms produce a more powerful impact than others. Since a drum circle is, by its very nature, highly improvisational, this is not something that can be planned. But, it can be perceived, as the combination of individual drummers' beats will suddenly produce a solid, powerful unity of music. This is just the random occurrence of everything coming together and locking in…to an extent that everyone can feel it happening. Sometime for only a few moments, sometimes for much longer. It’s hard to describe the feeling and sensation in mere words. I think that in some ways, analyzing it is just an attempt to make scientific sense out of what is truly and inherently pure magic.
I’ve experienced the golden ratio playing songs in bands, and in drum circles. Here we are, doing the same old routine song, and all of a sudden we start to improvise, and suddenly it morphs and changes into this amazing moment. You can feel this sort of glow.
But more often I have seen, and experienced it during open freestyle drum circles. It just magically comes along and happens. Some facilitators are critical of what they might term as a thunder drum circle, but I think they are missing out on the free and open willingness to be creative and let this kind of thing to happen naturally. As hard as you might try, it’s almost impossible to create the musical Golden Ratio. But you can create an environment where it might occur.
One way I try to encourage this is by leaving the center of the drum circle open. To me, this is a place for the participants to express themselves and be creative. I saw this at my first drum circle in the mid 70’s. To me, the center is a place for expression, not a place to play teacher. If you are a drum circle facilitator, I’ve seen a few that spend most of the time in the center giving out instructions. With beginner groups I may get in the center to introduce a rhythm, or bring one to an end so we can move on to something else, but I do 95% of my facilitating from the side of the circle as a participant, and mostly use the music to do it. That way, it doesn’t seem like such obvious facilitation, and the group is more empowered to be creative. It all just comes together. Even what may be perceived as a train wreck, can be laughed off, and a kickin’ new rhythm can then emerge.
Spontaneous things are less likely to happen unless there is an open space for people to get up in there and dance. I never ask people to dance, they will do it if they are feeling it. The onlookers who might not be ready to drum yet, can wander in there and dance, wave scarves, wander around to the beat, or whatever they are feeling. People that are drumming might want to take a break from drumming and dance.
Depending on the group, if nobody is in there, perhaps suggest that they are welcome to lay down in the center and feel the rhythm soak into their bodies for a few minutes. I suggest that they try it two at a time and close their eyes. I bring along two beach towels for this purpose. It is a remarkable, and very moving experience.
Another idea is to get a couple of inexpensive hula hoops, and suggest that people can give that a try in the center. It ramps up the fun, and jump starts the dancing. I keep them off to the side and mention they are there if anyone “wants to have a go at it”.
I personally love open drum circles, things don’t always go smoothly, but that’s half of the fun. I don’t know what’s going to happen. Neither does anyone else. I love it when people are "finding" their inner rhythms. I see them taking risks in a place where they feel safe. It’s the safety net, the bottom beat, that they can rely on and fall back to if they need to. I try to guide them on how to listen to what the entire group is doing, using their peripheral hearing. And that it’s ok, to look with your ears. You can see a lot more than can with your eyes. So even if my role there is as a facilitator, I try to create the open drum circle vibe. Let the music flow and evolve, magical things can happen like The Golden Ratio.
Shannon
drumcircles.net
For percussion, in drum circles, and even in bands, the application is more subtle. Combinations of rhythms produce a more powerful impact than others. Since a drum circle is, by its very nature, highly improvisational, this is not something that can be planned. But, it can be perceived, as the combination of individual drummers' beats will suddenly produce a solid, powerful unity of music. This is just the random occurrence of everything coming together and locking in…to an extent that everyone can feel it happening. Sometime for only a few moments, sometimes for much longer. It’s hard to describe the feeling and sensation in mere words. I think that in some ways, analyzing it is just an attempt to make scientific sense out of what is truly and inherently pure magic.
I’ve experienced the golden ratio playing songs in bands, and in drum circles. Here we are, doing the same old routine song, and all of a sudden we start to improvise, and suddenly it morphs and changes into this amazing moment. You can feel this sort of glow.
But more often I have seen, and experienced it during open freestyle drum circles. It just magically comes along and happens. Some facilitators are critical of what they might term as a thunder drum circle, but I think they are missing out on the free and open willingness to be creative and let this kind of thing to happen naturally. As hard as you might try, it’s almost impossible to create the musical Golden Ratio. But you can create an environment where it might occur.
One way I try to encourage this is by leaving the center of the drum circle open. To me, this is a place for the participants to express themselves and be creative. I saw this at my first drum circle in the mid 70’s. To me, the center is a place for expression, not a place to play teacher. If you are a drum circle facilitator, I’ve seen a few that spend most of the time in the center giving out instructions. With beginner groups I may get in the center to introduce a rhythm, or bring one to an end so we can move on to something else, but I do 95% of my facilitating from the side of the circle as a participant, and mostly use the music to do it. That way, it doesn’t seem like such obvious facilitation, and the group is more empowered to be creative. It all just comes together. Even what may be perceived as a train wreck, can be laughed off, and a kickin’ new rhythm can then emerge.
Spontaneous things are less likely to happen unless there is an open space for people to get up in there and dance. I never ask people to dance, they will do it if they are feeling it. The onlookers who might not be ready to drum yet, can wander in there and dance, wave scarves, wander around to the beat, or whatever they are feeling. People that are drumming might want to take a break from drumming and dance.
Depending on the group, if nobody is in there, perhaps suggest that they are welcome to lay down in the center and feel the rhythm soak into their bodies for a few minutes. I suggest that they try it two at a time and close their eyes. I bring along two beach towels for this purpose. It is a remarkable, and very moving experience.
Another idea is to get a couple of inexpensive hula hoops, and suggest that people can give that a try in the center. It ramps up the fun, and jump starts the dancing. I keep them off to the side and mention they are there if anyone “wants to have a go at it”.
I personally love open drum circles, things don’t always go smoothly, but that’s half of the fun. I don’t know what’s going to happen. Neither does anyone else. I love it when people are "finding" their inner rhythms. I see them taking risks in a place where they feel safe. It’s the safety net, the bottom beat, that they can rely on and fall back to if they need to. I try to guide them on how to listen to what the entire group is doing, using their peripheral hearing. And that it’s ok, to look with your ears. You can see a lot more than can with your eyes. So even if my role there is as a facilitator, I try to create the open drum circle vibe. Let the music flow and evolve, magical things can happen like The Golden Ratio.
Shannon
drumcircles.net
Monday, January 11, 2010
An Assortment Of Drum Circle Rhythms
This is a list of various drum circle rhythms I like to play. It's my interpretation of them. A few posts below I wrote about various ways to notate drum rhythms. Enjoy!
KC & The Sunshine Band inspired drum circle rhythm: "That's The way, Uh Huh, Uh Huh, I like It, Uh Huh Uh Huh" ♫♫ Doum ka-tek, ka-DoumDoum Tek, KaDoum ka-tek, ka-DoumDoum Tek ♫♫♫ (I guess that disco era helped me out after all!)
Try drumming out "Morse Code" rhythms. Ask someone to suggest 2 letters, or numbers, & put them together to make a new drum circle rhythm. ♫♫ _ _...._ _ ♫♫ A dot is a tone, & a dash, is a bass note. Sometimes they work, & sometimes they don't, that's part of the fun. There’s a Morse Code alphabet chart on my site drumcircles.net
"Little Drummer Boy" Christmas drum rhythm, if you can say it, you can play it! ♫♫♫ Let's Play Our Drum...Pa - Rum Pa PumPum...Rum Pa PumPum ♫♫♫
Good start up drum circle rhythm: ♫♫ "Yum Yum Tastes Like Ckic-Ken" ♫♫ (Just like it sounds) - doum doum tek-ka tekka, doum doum tek-ka tekka ♫♫
♫♫ An easy way to get a Clave drum rhythm jamming is to remind people of the beat to songs like "Mockingbird" or "Hand Jive" ♫♫♫
Sly & The Family Stone inspired beat. Boom sha-ka la ka, Boom sha-ka-la-ka
Word association is a great way to get a 6/8 drum circle rhythm going. ♫♫♫ Fol-low-the-yel-low-brick-road-go-do-pa-ta-pa ♫♫♫
The "conga line" rhythm usually turns into a good drum jam. On the Doumbek: ♫♫ doum-ka, doum-ka, tek--tek. ♫♫ Or on the Djembe: gun-pa, gun-pa, go--do ♫♫ or just feel the rhythm vamp to MJ's “Thriller".
Variation of an African drum rhythm Gunazi. ♫♫ Boom sha-ka Boom Boom, shakala, Slap!, Boom sha-ka Boom Boom, shakala, Slap! (or some accented tone at the end) ♫♫
♫♫ Cuckoo! ♫♫ Common commercial jingles make fun drum circle rhythms: Cuckoo for cocoa Puffs - Shaka-sha-lakaBoom, Shaka-sha-lakaBoom
Drum circle rhythm with a Brazilian flair to it: ♫♫♫ Doum--ka-tekka--Doum--ka-tek-ka,- Doum--ka-tekka--Doum--ka-tek-ka ♫♫
♫ Boom-Boom chakachaka ping ping ping! ♫♫ (gun dun patapata slap slap Slap)
Masmuudii 316 - A fun drum circle rhythm that rolls like a freight train ♫♫ D---D---t-k-T-k-D-tktkt-TktkT-t (repeat 4/4 time) ♫♫
Balloon Boy Drum Circle Rhythm (in beta test) ♫ oom-pah---oom-pah---oom-pahpah__oom-pah---oom-pah---oom-pah-barf ♫ (start with dominant hand, RL,RL,RLR__LR,LR,LRL) Bass, tones, & etc. (Alternate to balance both sides of the body.)
"Bambii" Another fun drum circle rhythm - Doum-tekka-katek-tekka-kaDoum-Doum_Doum-tekka-katek-tekka-kaDoum-Doum Doum ♫♫♫ (It's in 4/4 time, the 3 Doums at the end is what makes this one really groove.)
(Or, try it filled: Dk kT kk Tk kT kk D D)
Nice support rhythm to start at the drum circle: ♫♫ Boom sha La-ka Boom Boom-Cha__Boom sha La-ka Boom Boom-Cha ♫♫
♫♫ Cool drum circle rhythm Karsilama 3, it has a triplet at the end: D-kkT-kkD-kkT-T-T (2+2+2+3) (Shorthand notation on this one.) ♫♫♫
Interesting Jewish drum rhythm that's similar to the rhythm Ayyub ( D k-D t ) On the Doumbek: ♫♫ Doum tek-keh Doum tek (repeats and builds) Or on the Djembe: Gun go-do Gun go ♫
Tootie Fruitie Drum Circle Jam - ♫ Wop-baba-lou-bop__a-wop-Bam-Boom, Wop-baba-lou-bop__a-wop-Bam-Boom ♫♫ (I think Little Richard might dig us drumming to this.)
Sweet drum circle rhythm: ♫♫ Boom - che-boom_che-boom-a-choc_o_late__choc_o_late, (dramatic pause) Boom - che-boom_che-boom-a-choc_o_late__choc_o_late ♫♫♫
Drum to rhymes or phrases to start a 6/8 drum circle rhythm rolling: ♫ You-huff-and-you-puff-and-you-blow-the-Gun-Dun-go-do ♫
♫♫ Saiidi Drum Circle Rhythm - Doum tekka tekka doum doum tekka-Tek ♫♫
Beledi - Zaffah variation, Boom chick-a chick, Boom Boom _ chick-a-chick-a boom.
Gawazi - a great drum circle rhythm for dancers ♫♫ D tkD D tkt tktk, D tkD D tkt tktk ♫
Slower grooving drum rhythm. Usually a hit with beginners & pros - ♫ Boom, sha-La-Ka-Boom-Boom (pause) Boom, sha-La-Ka-Boom-Boom ♫
♫♫ A fun variation of the Chifitelli rhythm (played nice & slow) Doum, tek-ka tek-ka doum doum Tek (pause) Doum, tek-ka tek-ka doum doum Doum. ♫
Slow drum circle rhythm in "7". There's a triplet at the end. Boom boom, Boom boom, tek-ka-tek. Boom boom, Boom boom, tek-ka-tek. (1-2, 1-2, 1-2-3)
Thanks to Steve B for these two. Boom che-boom, che-boom-boom-boom. Boom che-boom, che-boom-boom-boom.
And this rhythm in 5/4 : tek a-tek tek, boom boom, tek a-tek tek, boom boom.
Zaffah drum rhythm (As far as I know it's an Egyptian wedding processional in 4/4 time.) D-tkt-t-D-t-t-tt (repeat)
The last time we played that Zaffah rhythm, one of the bellydancers said it sounds like Beledi on steroids. LoL. (Beledi= D D tkT, D tkT)
One of my favorite drum rhythms: Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum Doum Tek. (pause, & repeat)
KC & The Sunshine Band inspired drum circle rhythm: "That's The way, Uh Huh, Uh Huh, I like It, Uh Huh Uh Huh" ♫♫ Doum ka-tek, ka-DoumDoum Tek, KaDoum ka-tek, ka-DoumDoum Tek ♫♫♫ (I guess that disco era helped me out after all!)
Try drumming out "Morse Code" rhythms. Ask someone to suggest 2 letters, or numbers, & put them together to make a new drum circle rhythm. ♫♫ _ _...._ _ ♫♫ A dot is a tone, & a dash, is a bass note. Sometimes they work, & sometimes they don't, that's part of the fun. There’s a Morse Code alphabet chart on my site drumcircles.net
"Little Drummer Boy" Christmas drum rhythm, if you can say it, you can play it! ♫♫♫ Let's Play Our Drum...Pa - Rum Pa PumPum...Rum Pa PumPum ♫♫♫
Good start up drum circle rhythm: ♫♫ "Yum Yum Tastes Like Ckic-Ken" ♫♫ (Just like it sounds) - doum doum tek-ka tekka, doum doum tek-ka tekka ♫♫
♫♫ An easy way to get a Clave drum rhythm jamming is to remind people of the beat to songs like "Mockingbird" or "Hand Jive" ♫♫♫
Sly & The Family Stone inspired beat. Boom sha-ka la ka, Boom sha-ka-la-ka
Word association is a great way to get a 6/8 drum circle rhythm going. ♫♫♫ Fol-low-the-yel-low-brick-road-go-do-pa-ta-pa ♫♫♫
The "conga line" rhythm usually turns into a good drum jam. On the Doumbek: ♫♫ doum-ka, doum-ka, tek--tek. ♫♫ Or on the Djembe: gun-pa, gun-pa, go--do ♫♫ or just feel the rhythm vamp to MJ's “Thriller".
Variation of an African drum rhythm Gunazi. ♫♫ Boom sha-ka Boom Boom, shakala, Slap!, Boom sha-ka Boom Boom, shakala, Slap! (or some accented tone at the end) ♫♫
♫♫ Cuckoo! ♫♫ Common commercial jingles make fun drum circle rhythms: Cuckoo for cocoa Puffs - Shaka-sha-lakaBoom, Shaka-sha-lakaBoom
Drum circle rhythm with a Brazilian flair to it: ♫♫♫ Doum--ka-tekka--Doum--ka-tek-ka,- Doum--ka-tekka--Doum--ka-tek-ka ♫♫
♫ Boom-Boom chakachaka ping ping ping! ♫♫ (gun dun patapata slap slap Slap)
Masmuudii 316 - A fun drum circle rhythm that rolls like a freight train ♫♫ D---D---t-k-T-k-D-tktkt-TktkT-t (repeat 4/4 time) ♫♫
Balloon Boy Drum Circle Rhythm (in beta test) ♫ oom-pah---oom-pah---oom-pahpah__oom-pah---oom-pah---oom-pah-barf ♫ (start with dominant hand, RL,RL,RLR__LR,LR,LRL) Bass, tones, & etc. (Alternate to balance both sides of the body.)
"Bambii" Another fun drum circle rhythm - Doum-tekka-katek-tekka-kaDoum-Doum_Doum-tekka-katek-tekka-kaDoum-Doum Doum ♫♫♫ (It's in 4/4 time, the 3 Doums at the end is what makes this one really groove.)
(Or, try it filled: Dk kT kk Tk kT kk D D)
Nice support rhythm to start at the drum circle: ♫♫ Boom sha La-ka Boom Boom-Cha__Boom sha La-ka Boom Boom-Cha ♫♫
♫♫ Cool drum circle rhythm Karsilama 3, it has a triplet at the end: D-kkT-kkD-kkT-T-T (2+2+2+3) (Shorthand notation on this one.) ♫♫♫
Interesting Jewish drum rhythm that's similar to the rhythm Ayyub ( D k-D t ) On the Doumbek: ♫♫ Doum tek-keh Doum tek (repeats and builds) Or on the Djembe: Gun go-do Gun go ♫
Tootie Fruitie Drum Circle Jam - ♫ Wop-baba-lou-bop__a-wop-Bam-Boom, Wop-baba-lou-bop__a-wop-Bam-Boom ♫♫ (I think Little Richard might dig us drumming to this.)
Sweet drum circle rhythm: ♫♫ Boom - che-boom_che-boom-a-choc_o_late__choc_o_late, (dramatic pause) Boom - che-boom_che-boom-a-choc_o_late__choc_o_late ♫♫♫
Drum to rhymes or phrases to start a 6/8 drum circle rhythm rolling: ♫ You-huff-and-you-puff-and-you-blow-the-Gun-Dun-go-do ♫
♫♫ Saiidi Drum Circle Rhythm - Doum tekka tekka doum doum tekka-Tek ♫♫
Beledi - Zaffah variation, Boom chick-a chick, Boom Boom _ chick-a-chick-a boom.
Gawazi - a great drum circle rhythm for dancers ♫♫ D tkD D tkt tktk, D tkD D tkt tktk ♫
Slower grooving drum rhythm. Usually a hit with beginners & pros - ♫ Boom, sha-La-Ka-Boom-Boom (pause) Boom, sha-La-Ka-Boom-Boom ♫
♫♫ A fun variation of the Chifitelli rhythm (played nice & slow) Doum, tek-ka tek-ka doum doum Tek (pause) Doum, tek-ka tek-ka doum doum Doum. ♫
Slow drum circle rhythm in "7". There's a triplet at the end. Boom boom, Boom boom, tek-ka-tek. Boom boom, Boom boom, tek-ka-tek. (1-2, 1-2, 1-2-3)
Thanks to Steve B for these two. Boom che-boom, che-boom-boom-boom. Boom che-boom, che-boom-boom-boom.
And this rhythm in 5/4 : tek a-tek tek, boom boom, tek a-tek tek, boom boom.
Zaffah drum rhythm (As far as I know it's an Egyptian wedding processional in 4/4 time.) D-tkt-t-D-t-t-tt (repeat)
The last time we played that Zaffah rhythm, one of the bellydancers said it sounds like Beledi on steroids. LoL. (Beledi= D D tkT, D tkT)
One of my favorite drum rhythms: Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum Doum Tek. (pause, & repeat)
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