Professional Documents
Culture Documents
Drum Book
Drum Book
COUNTING..................................................................................................................................... 6
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Puzzle Drumming
Talisen ~2001
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Rhythm Disclaimer
There are countless rhythms that exist and many of these cross cultural boundaries. People may
recognize the same rhythm by different names. In addition, the same name may be used for two
entirely different rhythms. This also applies to the spelling of the rhythm names. The author
has attempted to use the most common names and spellings. However, the reader may know the
rhythm by a different spelling or name. The reader should also know that the rhythms as they
are presented here are but a few and there may be many variations.
Historical Information:
The origins of hand drumming rhythms, whether referring to African or Middle Eastern rhythms,
were influenced by nature, the movement of animals, and activities in daily life. Furthermore,
many rhythms were mixed together as different cultures came in to contact with each other,
either from nomadic tribes or conquering nations.
All of the rhythms in this book can be played on pretty much any drum but the playing technique
would vary according to the drum and method of play.
Language of drumming
“Drum speak”, usually in the form of one syllable vocalizations, identifies how the rhythms are
played, what part of the drum is used, and which hand is striking the drum. This oral tradition
was the means by which rhythms were passed down from generation to generation. Therefore,
the most effective way to learn a rhythm is to “speak” it. By absorbing the rhythm into the
brain, it becomes familiar and instructions to the hands to execute it are more easily
communicated. This all gets translated into a simple sentence.
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Common African Middle Eastern
Bass Gun or Dun Doum
Tone Go or Do Tek or Ka
Slap Pa or Ta Pop
There is also what is known as a Grab which sounds like a muted pop to a certain extent and will
be referred to as a “g”.
The term “dominant hand” would refer to the hand most likely used to write or do other tasks.
So a right-handed person’s dominant hand would be the right. The “non-dominant hand” would
be the left. This obviously is reversed for those that are naturally left-handed. For traditional
style of playing the doumbek, the drum should be placed across the hip opposite from the
dominant hand. The notation used in this book is a very common and simple form of writing out
the sounds that are made from the instrument. An accented stroke would be played with slightly
more force/volume.
g = Grab = This is similar to a doum but the hand is slightly cupped so the finger tips are
“grabbing” and sticking onto the drum skin.
DDtktDtkt
Additionally, there are two other terms describing how the rhythm can be played - OPEN or
CLOSED. OPEN is the most simplistic variation of a rhythm, consisting of the most open
spaces between beats / strokes, usually by playing the accented beats only. CLOSED refers to
the rhythm as it becomes more filled with strokes filling the spaces.
Example:
Beledi played open: D D - - t D - - t or D D - - - D - - -
Beledi played closed: DDtktDtkt
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Time Signatures
Time Signatures are denoted by two numbers displayed as what we recognize mathematically as
a "fraction". The top number denotes how many beats are to a measure and the bottom note
identifies the note that receives one beat, or one count. For example: In 4/4 time, there are 4
beats to a measure, and each quarter note gets one beat. In a 9/8, there are 9 beats to the measure
and each eighth note gets one beat...and so on.
Counting
1 2 3 4
X
1 2 3 4
X X
1 2 3 4
X X X X
Counting is very important to understand the “flow” and “spaces” in a rhythm. The chart above
represents the standard counting that is used when playing the rhythms. The “X” represents when
the hand would strike the drum. To play this exercise, count the numbers going line by line, and
when the “X” appears under the number being spoken, strike the drum. For this exercise, play a
Doum on the whole numbers, and a tek or ka on the other letters and symbols. This counting
scheme will be used throughout this book
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Rhythm Section
Beledi – 4/4 - (Egyptian)
This is a 4/4 Rhythm that is widely known throughout the Middle East. Beledi means ‘of the
country’. This rhythm is sometimes also referred to as Masmoudi Saghiir.
Beledi 4/4
1 e&a 2 e&a 3 e&a 4 e&a
D D t k t D t k t
This is a 2/4 rhythm that was used in exorcism ceremonies as well as in whirling dervish dances.
This is a rhythm that can be played very slowly for trance-like effect or can be played very fast.
Ayub is very similar to the African rhythm Jengo.
Ayub 2/4
1 e&a 2 e&a
D kD k
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Chiftitelli – 8/4 (Turkish / Egyptian)
This is an 8/4 rhythm, that, it is usually played at a slow to moderate speed. There are a lot of
spaces in the rhythm to put little fills especially at the end. A group of drummers can pass
around that open space around the circle giving everyone a chance to fill it in.
D t k t k D D T
D t k t t t k d t t kD D T
D t k t k t t k t k t t kD D T
This is an 8/4 rhythm, often referred to as Masmoudi Kabir or Big Masmoudi, as opposed to
Beledi which is often thought of as Small Masmoudi. Notice how similar it is to chiftitelli. The
two Doums are in the front of the rhythm as opposed to the end of the rhythm.
Masmoudi – 8/4
1 e&a 2 e&a 3 e&a 4 e&a 5 e&a 6 e&a 7 e&a 8 e&a
D D t k t k t D t k t k t t k t k t t k
D t kD t k T t k T t kD t k t k t t k t k t t k
D D D t k t D t k t k t t k t k t t k
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Maqsuum or Maksum (Egyptian) 4/4
This is a 4/4 rhythm and is often thought of as the foundation of most all other rhythms. This is a
good rhythm to practice soloing techniques as the open version leaves a lot of room to play
against it.
D T T D T
D T t k T D t k T t k
This 9/8 rhythm means “face to face”. It is a popular rhythm in Turkish and Greek folk music.
The open version presents the opportunity to experience and practice odd meter rhythms before
filling it in. Odd meter rhythms will feel very different for western ears accustomed to even
meter rhythms.
D T D T T T
D t k T t k D t k T T T
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Saidi – 4/4 – Egypt
This is a 4/4 from Upper Egypt, sometimes it is referred to as Beledi’s cousin. The two doums
are played in the middle of rhythm rather than at the beginning.
D T D D t k T t k
D t k T D D t k T t k
This is a 2/4 from Egypt, the word itself means Cabbage. This rhythm is found throughout the
Middle East.
Malfuf 2/4
1 e&a 2 e&a
D k T k T k
This 2/4 rhythm is very similar to Malfuf and found throughout the Gulf Region.
1 e&a 2 e&a
D kD k t k
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Samai 10/8 – Turkish
Samai 10/8
1 e & a 2 e & a 3 e & a 4 e & a 5 e & a 6 e & a 7 e & a 8 e & a 9 e & a 10 e & a
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Masmoudi and Chiftitelli
More Rhythms
These rhythms are on the Playing “Along with Middle Eastern Rhythms Volume II” disk
This is a 4/4 rhythm and is played throughout the Middle East. It is usually played at a slow
tempo. It is thought that the Gypsies may have brought this rhythm to Spain where it is very
popular.
Bolero 4/4
1 e&a 2 e&a 3 e&a 4 e&a
D t k t k t k D k
D k k t k k t k t kD t
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Karatchi – 2/4 – (Egypt / North Africa/Pakistan)
This is a 2/4 rhythm with many variations. Some variations begin with a Tek instead of a Doum.
Karatchi 2/4
1 e&a 2 e&a
D k k T D
Serto – 4/4 – (Greek)
This is a 4/4 the rhythm commonly used to accompany line dancing. Easy to remember if
thought of as the combination of Malfuf and Khaleegy.
Serto 4/4
D kD k t kD k T k t k
Slow Five
1 + 2 + 3 + 4 + 5 +
D k t k t k D
Fast Five
1 2 3 4 5
D k T k t
1 2 3 4 5
D k D k k
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Moroccan 6/8
The Moroccan 6/8 has a “swaying” or “waltz” feel to it. Again, there are many variations. Pay
attention to the spaces in this rhythm.
Moroccan 6/8
D k k D k D k k Dk k
Persian 6/8
The Persian 6/8 fits very nicely with the Moroccan 6/8. An interesting sound for two drummers
playing together.
Persian 6/8
D t t k D t k D t t k D t k
Chaka 6/8
Chaka 6/8
D t k t k T t k t kD t k T t kD T
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Zaffah 4/4 – (Egypt)
Zaffah 4/4
D t k t t D t D
D t k t t D t D t k
This is a great rhythm to that can easily supports the “bottom” in a drum circle
Sufi 4/4
D D D D t k t
D D D D t k t t k
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Falahi 2/4 – (Egypt)
This is a 2/4 and sounds very similar to Maqsum. There again a number of variations of it and is
usually played quite fast and is kept evenly spaced. Remember the “g”s represent a “grab”. The
fingertips strike and stick to the drum head in same place where a Doum would be played.
Falahi 2/4
1 e&a 2 e&a
Dg k gDk g k
This is a 2/4 and has been identified with the Bedouin tribes. There are a number of variations of
this rhythm from the Gulf region. This is a common variation and the author’s favorite.
Saudi 2/4
1 e&a 2 e&a
Dk kDk kSk
This is a 7/8 rhythm that is generally used for various folk dances and songs. Also the author’s
favorite!
Laz 7/8
1 + 2 + 3 + 4 + 5 + 6 + 7 +
D t K kD t k t t
1 + 2 + 3 + 4 + 5 + 6 + 7 +
D D t t kD t t k t
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Sheelto 7/8
Sheelto 7/8
1 + 2 + 3 + 4 + 5 + 6 + 7 +
D t k t k D t k t
1 + 2 + 3 + 4 + 5 + 6 + 7 +
D t k t k D t k t t k
DkDkDkTkk = 9
DkDkTkk =7
DkTkk =5
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Zenkov
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
DkDkDk T k k D k D k T k k D k T k k
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Dancing Drums
Talisen ~ 2001
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Try making up some rhythms in 4/4 and 8/4 time…
1+ 2+ 3+ 4+ 5+ 6+ 7+
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Email: jesserogers01@gmail.com
www.tribal-soup.com
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