rhythms of the world...dotted rhythms a dot after a note increases its value by half again. a dotted...

G C S E M U S I C – R H Y T H M S O F T H E W O R L D R E V I S I O N G U I D E

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RHYTHMS OF THE WORLD

REVISION GUIDE

SOME KEY MUSICAL VOCABULARY

RHYTHM – a series of notes of different lengths that create a pattern. Usually fits with a regular beat or pulse PULSE – the beat in a piece of music TEMPO – the tempo of a piece of music is the speed of the underlying beat SYNCOPATION – a way of changing a rhythm by making some notes a bit early, often so they cross over the main beat of the music on the “weaker beats” CROSS-RHYTHM – is the effect produced when two “conflicting” rhythms are heard together POLYRHYTHM – is when two or more rhythms with different pulses are heard together e.g. where one drum is playing in triple time and another is playing in quadruple time = three against four IMPROVISATION – composing or creating previously unprepared music “on the spot” or during a performance TRIPLETS – three notes played in the time of two



SOME KEY ITALIAN MUSICAL TERMS REGARDING

TEMPO

Italian Musical Term Meaning

Largo Slowly and broadly

Andante Slowish, at a walking pace

Moderato At a moderate speed

Allegro Fast

Vivace Lively

Presto Very Quick

Accelerando Gradually speeding up

Rallentando Gradually slowing down

Ritenuto Immediately slower

Allargando Getting slower and broadening

Rubato Literally “robbed time”, where rhythms are played freely for expressive effect



TIME SIGNATURES

Time signatures contain two numbers:

The top number indicates the number of beats in each bar

The bottom number is a symbol to indicate the type of beat – 4 = crotchet beats, 8 = quaver beats, 2 = minim beats

Four crotchet beats in a bar Six quaver beats in a bar Two minim beats in a bar

This symbol is also used to describe 4/4 time = COMMON TIME

This symbol is also used to describe 2/2 time = CUT COMMON TIME

DOTTED RHYTHMS

A dot after a note increases its value by half again. A

dotted crotchet lasts for one and a half crotchets, a dotted

quaver lasts for one and a half quavers

6/8, 9/8 and 12/8 are examples of COMPOUND TIME. In compound time, each beat is a dotted

note. Although 6/8 time has six quaver beats in the bar, the beat is divided into two dotted

crotchets.

1 2 3 4 5 6 = 1 2


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SAMBA

Instruments and Timbre

Music in Latin America is widely influenced by colourful and exotic carnivals and a range of dance styles. Carnivals may include FANFARRAS, featuring brass instruments associated with fanfare, and almost always a Samba Band. Traditional instruments and timbres of a Samba Band include:

SURDO A bass drum used to make the beat of Samba

music. Surdos keep a steady beat and alternate between higher and lower pitches. A

smaller Surdo often plays an important role within the ensemble.

REPINIQUE A small drum similar to the snare drum but

taller, that is usually played with one stick and the bare hand. It has a more metallic tone

than the snare drum and can be used to play solo cues in call and response patterns.

TAMBORIM A small drum with a single drum-head tuned very high and struck very quickly and sharply

with a flexible stick. The player is able to press and tighten the skin or dampen the sound whilst playing and plays more complicated

rhythms than the Surdos

CHOCOLO

A Shaker made of many small cymbal-like metal pieces. Chocolos play even notes

throughout a piece of Samba music.

RECO-RECO A scraper made of loops of steel balls wrapped

around a cylinder and hand-held. It plays the same time values as the Chocolo

APITO This is a whistle used by the leader to signal an instruction

to the samba band

AGOGO BELLS

A cowbell with two pitches, one high and one low, played with a wooden stick and hand-

held. The bells can also produce a sound by squeezing them so that they strike each other. Like the Tamborim, the Agogo Bells play more

complicated rhythms.

CAIXA DE GUERRO A drum similar to the Repinique but with

springs on the bottom to create vibrations much like a snare drum.

GUIRO An open-ended hollow gourd with parallel

notches cut in one side. It is played by rubbing a stuck along the notches to produce a

“ratchet” sound/timbre/sonority. The Guiro can produce both long and short sounds, made by scraping up and down in long or short strokes.

TIMBALES

Shallow single-headed drums with metal casing. The player uses a variety of stick strokes, rim shots and rolls to produce a wide range of percussive expression during solos and at transitional sections of music.

CUICA A Brazilian friction drum with a large pitch range, produced by changing the tension on the head of the drum. The tone/timbre/sonority of the Cuica produces a high-pitched squeaky sound.



CONGAS A pair of tall, narrow single-headed drums

played with the hands on a stand which the musician has to stand to play.

CLAVES Two short wooden sticks which are struck together. Claves have a surprisingly clear

tone/timbre/sonority and can be clearly heard even in a large ensemble.

COWBELL An idiophone named after the similar bell

historically used by herdsmen to keep track of the whereabouts of cows! Cowbells are struck with a stick, the tone being changed by striking different parts of the bell and by damping with

the hand holding the bell.

Different types of guitar also feature extensively in Latin American ensembles,

the most popular of these being the CUBAN GUITAR usually with six or nine

strings.

Rhythm and Metre, Structure and Phrasing, Repetition and Ostinato &

Ornamentation

Samba music is built up of OSTINATOS. An ostinato is a repeated musical

pattern (often a rhythm or sometimes a melody) played over and over again.

The rhythms used to create an OSTINATO are usually 4 or 8 beats long

(regular phrases). Each instrument in the Samba Band has its own OSTINATO

to play often featuring offbeat rhythms with SYNCOPATION. Rhythm is a very important part of

Samba music and well-known rhythms are often known as SON CLAVE (this rhythm came from

SON music and is played by the CLAVES). There are two main variants, known as 2:3 and 3:2

Based on Clave rhythm 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 +

3 – 2 clave rhythm

2 – 3 clave rhythm.

Samba music is built up of lots of different sections. For each section the SAMBISTA will need to

know an OSTINATO. A SAMBISTA may need to know as many as six different ostinatos per

piece of music.

Samba music often starts with an introduction. This can go on for whatever length of time is

appropriate, with the SAMBISTA “calling” and the rest of the group “responding” in a CALL AND

RESPONSE style either repeating exactly the rhythm of the SAMBISTA, or playing a pre-

rehearsed rhythm.



The introduction generally ends with a rehearsed CALL AND RESPONSE which acts as a signal

to move onto the main ostinato rhythm of the piece – the GROOVE. The main GROOVE is when

all the instruments of the Samba Band play their respective rhythms over and over again forming

the main body of the piece.

The GROOVE is broken up by BREAKS and MID SECTIONS. A BREAK is a 4 or 8 beat rhythm

which is usually played once or twice and used to provide contrast to the main groove. A MID

SECTION is where just one or two instruments change the rhythm of their ostinato and the others

stay the same or stop playing altogether. Sometimes breaks and mid sections are used to allow a

particular instrumental section to “show off” their rhythms as a form of SOLO.

The SAMBISTA must signal to the group when to change to a different a section which is normally

done with a Samba whistle (with its loud tone making it heard above the music) called an APITO.

A piece of Samba music can end in many ways – either just stopping, returning to a CALL AND

RESPONSE or simply ending with a pre-rehearsed ending phrase or rhythm.

Samba music also has an introduction and ending. The structure of a piece of Samba may look

like the following:

Intro Groove Break

1 Groove

Break 2

Groove Mid-

Section 1

Groove Break

1 Groove End

Dynamics, Expression and Articulation

The dynamics of Samba music are normally very loud – it is music designed to be performed

outdoors at carnivals and is played by large numbers of instrumentalists and to accompany

dancers and processions with large audiences watching and listening. Sometimes, a

CRESCENDO is used at the end of a piece of Samba music for dramatic effect.

Texture

Texture varies in Samba music, often MONOPHONIC where a single rhythm is heard as in CALL

AND RESPONSE sections, sometimes POLYPHONIC where sections of the Samba band play

different rhythms (OSTINATOS) creating CROSS-RHYTHMS (when two rhythmic patterns that

“conflict” with each other occur simultaneously) creating a thick texture of interweaving and

interlocking rhythms.

Tempo

Samba music is generally fast at around 104 bpm and keeps a constant tempo to assist the

dancers or processional nature of the music. Sometimes the SAMBISTA (Samba leader) uses

(TEMPO) RUBATO – tiny fluctuations in tempo for expressive effect.

Pitch and Melody & Harmony and

Tonality

Samba music is based on rhythms

rather than melodies although the pitch

of certain instruments within the Samba

band provides musical contrasts.

FUNDO DE QUINTAL is a famous Samba band.



Samba is a Brazilian musical genre and dance style with its

roots in Africa via the West African slave trade and African

religious traditions. Although there were various forms of

Samba in Brazil, in the form of various popular rhythms and

regional dances that originated from drumming, Samba, as a

music genre, is seen as originally a musical expression of

urban Rio de Janeiro, then the capital and largest city of

Brazil. Samba is recognised around the world as a symbol of

Brazil and Brazilian carnival. Considered one of the most

popular Brazilian cultural expressions, Samba has become

an icon of Brazilian national identity.

The instruments of Samba have been influenced by

Portuguese colonies who imported slaves from Africa, while

the rhythm of Samba is from Africa.

In addition to distinct rhythms and metres, Samba

brings a whole historical culture of food, dances,

parties, clothes, artists, painters, sculptors, designers

and stylists who make the clothes, costumes and

carnival floats used to accompany the performance of

Samba

music.

Samba schools were formed where people got together

and performed a variety of music using drums and other

instruments. The schools parade down a street lined

with grandstands, thousands of members dressed in co-

ordinated costumes, dancing a rehearsed Samba

routine to original music. Each school’s presentation

must have a central theme, such as historical event or a

Brazilian Indian legend. The Samba song must tell the

story and the huge floats that accompany each school must show the theme with paintings or

sculptures. Each Samba school rehearses all year for this event. The event gives everyone,

whatever their ability, the opportunity to take part and is the work of communities working together.

Today, Samba is usually associated with the carnival. During the early twentieth century, a

colourful and exciting street life formed in Rio de Janeiro and the

music associated with the carnival became known as Samba where

its loud drumming and syncopated rhythms form an essential part of

the carnival season.

A more restrained version of Samba is also known around the world

as a competitive ballroom dance and heard on TV shows such as

Dancing with the Stars and Strictly Come Dancing. Samba has also

been mixed with Drum ‘n’ Bass (as a type of musical FUSION)

leading to the foundation of “Sambass” and artists and groups of

popular music have been influenced by the sounds and rhythms of

Samba and have used these in their music e.g. Jamiroquai –

“Travelling Without Moving” and Gloria Estefan – “Live for Loving

You”.

G C S E M U S I C – R H Y T H M S O F T H E W O R L D K N O W L E D G E O R G A N I S E R

P A G E 6 O F 6 © W W W . M U S I C A L C O N T E X T S . C O . U K

Samba Music in Latin America is widely influenced by colourful and exotic carnivals and a range of dance styles. Carnivals may include FANFARRAS, featuring brass instruments associated with fanfare, and almost always a SAMBA BAND.

Rhythm and Metre, Form & Structure and Phrasing, Repetition and Ostinato & Ornamentation

Built around OSTINATOS usually 4 or 8 beats long (regular phrases). Each group of instruments can have their own Ostinato featuring OFFBEAT RHYTHMS and SYNCOPATION. Often the

SON CLAVE SYNCOPATED rhythm is used, either the 2:3 or 3:2.

Samba music is built up of lots of different sections. For each

section the SAMBISTA will need to know an OSTINATO.

Samba music often starts with an INTRODUCTION often featuring CALL AND RESPONSE RHYTHMS between the Samba Leader and ensemble. The main Ostinato rhythm of Samba is called

the GROOVE when all the instruments of the Samba Band play their respective rhythms over and over again forming the main body of the piece. The GROOVE is broken up by BREAKS - 4

or 8 beat rhythms providing contrast and MID SECTIONS – one or two instruments change the rhythm of their ostinato and the others stay the same or stop. Sometimes BREAKS and MID

SECTIONS feature a SOLOIST who “shows off” their rhythms. The SAMBISTA must signal to the group when to change to a different section which is normally done with an APITO (Samba

Whistle – loud!). A piece of Samba can end with either

a CALL AND RESPONSE pattern or a pre-rehearsed

ending phrase of rhythm. The FORM AND STRUCTURE

of a piece of Samba may look like the following:

Intro Groove Break 1 Groove Break Groove Mid-

Section 1 Groove Break 1 Groove End

Texture Dynamics, Expression and Articulation Tempo Pitch and Melody &

Harmony and Tonality

Texture varies in Samba music, often MONOPHONIC where a

single rhythm is heard as in CALL AND RESPONSE sections,

sometimes POLYPHONIC where sections of the Samba band play

different rhythms (OSTINATOS) creating CROSS-RHYTHMS (when

two rhythmic patterns that “conflict” with each other occur

simultaneously) creating a thick texture of interweaving and

interlocking rhythms.

The dynamics of Samba music are normally very loud –

it is music designed to be performed outdoors at

carnivals and is played by large numbers of

instrumentalists and to accompany dancers and

processions with large audiences watching and

listening. Sometimes, a CRESCENDO is used at the end

of a piece of Samba music for dramatic effect.

Samba music is generally fast at around

104 bpm and keeps a constant tempo

to assist the dancers or processional

nature of the music. Sometimes the

SAMBISTA (Samba leader) uses

(TEMPO) RUBATO – tiny fluctuations in

tempo for expressive effect.

Samba music is based on rhythms

rather than melodies although the

pitch of certain instruments within the

Samba band provides musical

contrasts.

Origins and Cultural Context of the

Traditional Music

Musical Characteristics of

Folk Music Impact of Modern Technology on Traditional Music

Artists, Bands & Performers of Samba

Samba is a musical genre and dance style with its roots

in Africa via the West African slave trade and African

religious traditions. Samba is an expression of Brazilian

cultural expression and is a symbol of carnival. Samba

schools formed and compete bringing people together.

The instruments of Samba have

been influenced by Portuguese

colonies who imported slaves from

Africa, while the rhythms of Samba

are of African origin.

Samba has become popular as a Latin-American ballroom dance on TV

shows such as Strictly Come Dancing and Dancing with the Stars. Samba has

also been mixed/fused with Drum ‘n’ Bass in a musical fusion creating

“Sambass” and artists and groups of popular music have used sounds and

rhythms of Samba in their music e.g. Gloria Estefan and Jamiroquai.

Fundo de Quintal Exaltasamba

Instrumentation – Typical Instruments, Timbres and Sonorities SURDO REPINIQUE TAMBORIM CHOCOLO RECO-RECO APITO AGOGO BELLS CAIXA DE GUERRO GUIRO TIMBALES CUICA CONGAS CLAVES COWBELL



Indian Classical Music A RAGA performance is not worked out beforehand and relies on a RAGA (scale) and TALA (rhythm) to which considerable IMPROVISATON and ORNAMENTATION are added by the performers. Some performances are very long and can last all night!

Characteristic Rhythms and Metres, Traditional Rhythm Patterns &

Repetition and Ostinato Pitch & Melody and Harmony & Tonality

Dynamics

Based on TALAS (cyclic/repeating rhythm patterns) played by the TABLA.

One single TALA used for a piece. Each TALA has a certain number of

beats (regular and irregular TALAS are used). The most popular TALA is

called TINTAL – 16 beats per cycle. Over 300 TALAS. HAND CLAPS and

WAVES are used to mark certain beats.

Melodies based on RAGAS (scale/mode) – patterns of notes with strict

rules about usage. RAGAS (scales) associated with a particular time of

day or night or season and have different MOODS. Some RAGAS (scales)

vary in ascent and descent e.g. Raga Vibhas (morning Raga); Raga Behag

(evening Raga). RAGAS are written down used SARGAM notation.

Generally increase throughout a

Raga performance starting of softly

(p) during the ALAP and JHOR with

a gradual CRESCENDO in the JHALA

and very loud at the end.

Texture Tempo Ensemble Form & Structure

There are three basic layers to the texture of Indian Classical Music:

MELODY (Voice, Sitar, Sarangi, Bansuri, Esraj or Sarod performing the

melodic form of the Raga); DRONE (Tanpura or Harmonium performing

long sustained noted); RHYTHM (Tabla performing the rhythmic Tala).

The opening three sections of a Raga performance all have a 2-PART

TEXTURE (melody and drone), the final Gat (or Bandish) section when the

Tabla enters performing the Tala has a 3-PART TEXTURE.

ALAP – slow and free unmetred

rhythm with no recognisable beat

or pulse. JHOR – speeds up and

becomes more rhythmic. JHALA –

further increase in tempo and

greater sense of metre. GAT – very

fast tempo with complex rhythms.

TEMPO RUBATO sometimes added

by performers during performance.

Indian Classical musicians must

work together in order to interpret

the music and perform effectively

as one including starting and

stopping together, agreeing tempo

and dynamic changes, similar

interpretation of expression and

articulation (accents, staccato) as

well as balance between parts.

FOUR sections (no breaks)

ALAP – melody and drone, free

unmetred, slow, soft.

JHOR (JOR) – melody and drone,

increase in speed, more rhythmic

JHALA – melody and drone, more

speed and improvisation

GAT (BANDISH) – Tabla enters,

tempo and dynamics increase.


Traditional Music Musical Characteristics of Folk Music

Impact of Modern Technology on

Traditional Music

Artists, Bands & Performers of Indian

Classical Music

Around 1700 BC. Developed in temples and

royal palaces. Ragas and Talas learnt by the

ORAL TRADITION. Master-Student tradition.

Spirituality (Hinduism) an important part.

A RAGA performance based on one RAGA

and one TALA with freedom for

IMPROVISATION and ORNAMENTATION

during performance. No fixed length.

Available via the internet (YouTube®) and

heard at cinema, radio and live concerts.

Indian instruments now heard in jazz, pop

and rock (live or sampled)

Ravi Shankar Anoushka Shankar Alla Rakha

Instrumentation – Typical Instruments, Timbres and Sonorities

SITAR TANPURA SAROD SARANGI ESRAJ HARMONIUM BANSURI SINGER TABLA



Punjabi Bhangra Bhangra is a type of FUSION MUSIC – blending together and combining elements of WESTERN POPULAR MUSIC, CLUB DANCE MUSIC, HINDI FILM MUSIC and FOLK MUSIC FROM THE PUNJABI REGION. Traditional Punjabi drums and string instruments are FUSED (combined/used alongside) Western instruments. Modern Bhangra developed in the UK in the 1970’s and 1980’s and fused CHAAL rhythms with Western popular genres such as HIP-HOP, DISCO and DRUM ‘N’ BASS.

Characteristic Rhythms and Metres, Traditional Rhythm Patterns & Repetition and Ostinato Pitch & Melody and Harmony & Tonality

The basic rhythms of Bhangra are played by the DHOL – a double-headed drum producing two sounds – HIGH

and LOW. POLYRHYTHMS, CROSS-RHYTHMS and SYNCOPATION can be created by combining rhythms from

the two drum heads. The CHAAL rhythm in 4/4 metre consists of a repeated 8-note pattern played on the

DHOL. The CHAAL rhythm is ‘swung’ with a TRIPLET-feel. Vocal shouts of the word ‘Hoi’ are often added on

the second and fourth beats of the CHAAL rhythm and the

DHOLAK and/or TABLA add decorative, more complex

rhythms. The TUMBI often plays repeated RIFFS or

OSTINATOS using the CHAAL rhythm.

Singing has an important role within Bhangra often featuring HIGH-PITCH

MALE VOCALISTS (in the tenor range) – the melodies use a SMALL

RANGE OF NOTES and backing singers often shout ‘Hoi’ at certain points

in the song. The lead vocalist/singer sings SHORT PHRASES in Punjabi,

often BENDING NOTES and making use of MICROTONAL INTERVALS and

frequent use of the interval of a MINOR THIRD. It is common for the

vocal melody to fall in pitch at the end of a phrase. Harmony is often very

simple, based on one or two REPEATED CHORDS.

Texture Tempo Dynamics & Articulation Form & Structure

HOMOPHONIC (MELODY AND

ACCOMPANIMENT) – instruments

support vocal melody.

Fast-paced dance music, usually in

4/4 METRE around 140-195 bpm.

Consistently LOUD with exciting

and dramatic expression. Strong

ACCENTS on the 1st

beat of the bar.

Similar to Western Popular Music in POPULAR SONG FORM including

VERSES and a repeated CHORUS, often with an introduction and some

INSTRUMENTAL sections.




Traditional Music

Artists, Bands & Performers of Punjabi

Bhangra

Bhangra originally refers to a type of Punjabi

dancing taking place around harvest time

where festivities would be accompanied by

music. It became popular at other

celebrations such as weddings and New Year

parties and now the soundtrack of

BOLLYWOOD cinema.

Working farmers would sing songs to the

sound of the DHOL. The dance rhythm

accompanied a male synchronised dance

with energetic steps and acrobatic stunts.

Modern Bhangra today uses a lot of music

technology – REMIXES, SAMPLING and DJ

SOUND EFFECTS such as SCRATCHING as

well as using DRUM MACHINES. Using these

effects, Bhangra has evolved into a CLUB

DANCE GENRE with an individual and

improvised dance to accompany it.

Panjabi MC Alaap

Instrumentation – Typical Instruments, Timbres and Sonorities –

Electronic instruments (Electric Guitars, Electric Bass, Synthesizers and Keyboards) are often added to these:

DHOL DHOLAK TABLA TUMBI SARANGI ALGHOZA MALE SINGERS



Eastern Mediterranean and Middle Eastern and Arabic Folk Rhythms

Due to Greece’s geographical location, its music is influenced by music from Europe, Asia and the Middle East. Consisting of songs and dances, Greek folk music is used for celebrations and social events. Lots of Palestinian music contains only melody/vocals and rhythm often without chords and often begin with a section freely improvised free of tempo. Israeli music combines a mixture of music from different cultures – Europe, Russia, Eastern Europe, Arabia.


Repetition and Ostinato Pitch & Melody and Ornamentation

Dynamics, Expression and

Articulation

Many Greek songs and dances use IRREGULAR RHYTHMS and IRREGULAR

METRES e.g. 5/8 or 7/8. SIMPLE TIME is also used in Israeli folk dances e.g. 2/4,

3/4 and 4/4). In Arabic music, a rhythm pattern is called a WAZN (similar to a

Tala in Indian music). Two popular Arabic WAZN rhythms are shown below and

can be performed on the DOUMBEK (D = DOUM – a low tone played in the

centre; T = TEK – a high tone played on the edge with the right hand; K = KA – a

high tone played on the edge with the left hand)

Greek folk music uses SIMPLE MELODIES but allows freedom for the player,

performer or singer to DECORATE and ORNAMENT those freely especially

decorating repeated notes. Melodies move mainly by STEP (CONJUNCT

MOVEMENT) covering a relatively small range of notes. The melodies are lyrical

(expressive) and enjoyable to sing. Often melodies are harmonised by another

part playing a THIRD HIGHER giving PARALLEL MELODIES. Arabic melodies are

based on MAQAM and IMPROVISATION is an important feature. Israeli folk

dances have melodies played on the clarinet, violin and accordion, often using

GRACE NOTES and PITCH BENDS to create a distinctive sound with MELODIC

DECORATION and ORNAMENTATION.

Greek folk music – simple but highly

expressive melody lines with

performers exploring the TIMBRE and

SONORITY of the instrument including

playing techniques such as TREMOLO

(Bouzouki) and slides (GLISSANDO) and

singers using MELISMA (singing several

notes per syllable).

Harmony and Tonality Tempo Texture Form & Structure and Phrasing Greek music uses DIATONIC MAJOR AND MINOR CHORDS. Tonic and Dominant notes are

emphasised by the bass instrument and music sometimes MODULATES to the relative

major/minor. Arabic music is often based on a MAQAM (type of scale/mode often

accompanied by a DRONE) which is divided into MICROTONES. The closest scale in Western

music which resembles this is the DOUBLE HARMONIC SCALE also called the ARABIC SCALE:

C, Db, E, F, G, Ab, B C. Israeli folk dances often feature the bass guitar playing the ROOT and

FIFTH of a chord with other instruments performing chords on the OFF-BEAT.

Greek, Arabic and Israeli folk music is often

FAST – designed for dancing. Arabic music

often begins with an IMPROVISATION free

of tempo and Israeli folk dances often

feature a gradual ACCELERANDO (speeding

up) throughout the performance.

Greek folk music has a clear HOMOPHONIC

(MELODY AND ACCOMPANIMENT) texture

– a prominent melody with accompaniment,

often featuring OFF-BEAT CHORDS.

Greek folk music – short sections which are

repeated. Clear structure with regular

phrasing with sections separated by clear

CADENCES. Sometimes instruments and

singers perform in DIALOGUE with each

other.




Traditional Music

Artists, Bands & Performers of Eastern Mediterranean

and Middle Eastern and Arabic Folk Rhythms

Greek folk music – songs and dances at celebrations,

social events, cafés, restaurants and bars. Middle

Eastern folk music shaped by Arabic, Jewish and

Christian influences.

A typical ensemble in Greek folk music could consist of

the DOUBMEK, BOUZOUKI, violin, bass and vocals.

Palestinian and Arabic music often features the OUD,

while Israeli music has taken on many more Western

musical instruments such as the guitar and the piano.

The harmony is often MICROTONAL.

Globalization means more people around the world

have access to Eastern Mediterranean, Arabic and

Israeli folkl Music via the Internet (YouTube®) which can

also be heard on the radio or television and at live

concerts.

Yannis Parios Le Trio Joubran Effi Netzer


BOUZOUKI OUD DOUMBEK TAMBOURINE TABLA BALADI MIZMAR NEY MIJWIZ SANTUR

A typical Greek folk music ensemble could consist of the DOUMBEK, BOUZOUKI, violin, bass and vocals. Palestinian and Arabic music often features the OUD, while Israeli music has taken on many more

Western musical instruments such as the guitar and piano.

MAQSUM –

basic rhythm

used in

Middle East

SAIDI –

upbeat folk

rhythm

with FILLS



African Drumming African instruments are often made from plants and animal products such as hide and bone. African musicians are very fond of PERCUSSION instruments and use a wide variety of drums (called MEMBRANOPHONES) Drums are traditionally used as an accompaniment to singing, dancing, working and communicating between villages. Drummers are typically the most respected members of their community.

Characteristic Rhythms and Metres, Traditional Rhythm Patterns

& Repetition and Ostinato Pitch & Melody and Harmony & Tonality

Ornamentation REPETITION and CYCLIC RHYTHMS used to organise music. A repeated

rhythm pattern (OSTINATO or TIMELINE) is used as a basis for

IMPROVISATION to “hold the piece together”. Use of SYNCOPATION,

POLYRHYTHMS (shown below right), CYCLIC RHYTHMS and CROSS-

RHYTHMS (shown below left). MASTER DRUMMER can give musical ‘cues’

to performers to change rhythms during a performance and can also choose

to ACCENT different beats within a RHYTHM CYCLE.

Most African melodies are based on a “limited number of pitches” - four, five, six or seven note SCALES and

are normally short and simple, often expanded by REPETITION and IMPROVISATION. The pitch in African

drumming is largely determined by the tuning of the drums. African singers often create vocal harmony by

singing in thirds, fourths or fifths. UNISON and PARALLEL OCTAVE harmony is also common. The basic

form of African Vocal Music is CHORAL SINGING known as CALL AND RESPONSE where one singer

(SOLOIST) or small group of singers sings a line and the whole group (CHORUS) makes a reply (often a fixed

REFRAIN) – like a “musical conversation” – in alternation with the “lead singer”. The soloist often

IMPROVISES. African singers often “shout words” (VOCABLES) and male and female singers enjoy using

their highest VOCAL REGISTER known as FALSETTO. African singing can be accompanied by instruments

but can also be unaccompanied (A CAPPELLA).

The MASTER DRUMMER

can elaborate and decorate

his solo drum part with

ACCENTS and playing in a

technically demanding style

to “show off” to the rest of

the drum ensemble and

audience.

Texture Dynamics Tempo Ensemble Form & Structure and

Phrasing

In West Africa, drum ensembles have 3-5 players each with a

distinctive method of striking their drum and playing

interlocking rhythms. This creates a THICK and complex

POLYPHONIC texture.

Since African Drumming is often

performed outside and at social

gatherings and celebrations, the

dynamics are generally LOUD (FORTE

– f) or VERY LOUD (FORTISSIMO – ff),

but like changes in tempo, can be

indicated by the MASTER DRUMMER.

FAST – designed for dancing and

social gatherings – tempo will match

the dance steps. The MASTER

DRUMMER can both establish the

tempo as well as speed up

(ACCELERANDO) or slow down

(DECELERANDO) or even set a new

tempo with musical ‘cues’.

A MASTER DRUMMER often leads giving

signals to the rest of the group to change

rhythms or sections of the piece and can

also control the TEMPO. He often

IMPROVISES highly complicated rhythms

and can indicate the ending of a piece of

music as well as playing the “CALL” to CALL

AND RESPNOSE SECTIONS which are

‘responded’ by the drum ensemble.

The structure of a piece of

African drumming depends on

the MASTER DRUMMER and

has no fixed or determined

length, entirely dependent on

the rhythms used.

Origins and Cultural Context of the Traditional Music Musical Characteristics of

Folk Music


Traditional Music

Artists, Bands & Performers of African

Drumming

African Drumming is ‘traditional’ and handed down via the ORAL

TRADITION (not written down). Not performed ‘at a concert’,

rather everyone joins in by dancing or playing an instrument,

singing or clapping. Combines other art forms and heard at special

occasions and celebrations. Many Africans believe that music

serves as a link to the spirit world.

Traditional drums such as the

DJEMBE, TALKING DRUM and

DUNDUN remain popular in African

music today, often combined with a

number of percussion instruments,

stringed instruments and woodwind

instruments. RHYTHM remains a

key feature of African drumming.

African music has been a major influence on the

development of popular music contributing rhythms,

structures, melodic features and the use of

improvisation to such styles as blues, gospel and jazz,

brought over to America by slaves. High quality

recordings of traditional African music are now possible

with advanced recording techniques

Ladysmith Black

Bolokada Conde Mambazo


Other percussion instruments

such as clappers, maracas,

scrapers, gongs and

xylophones (called BALAFONS)

produce their sound by

vibration and are known as

IDIOPHONES.

Stringed instruments (CHORDOPHONES) such as

bows, lyres, zithers, harps and the KORA are

popular as well as some woodwind instruments

(AEROPHONES) such as whistles, flutes, reed

pipes, trumpets and horns. TALKING DRUM

DJEMBE (Bass, Tone

& Slap

sounds)

DUNDUN



Calypso and Steel Band Calypso is the national dance of Trinidad and Tobago. Steel Bands also originated from these islands. Caribbean music combines elements of AFRICAN MUSICAL INFLUENCES – SYNCOPATION, CROSS-RHYTHMS, PERCUSSION, CALL AND RESPONSE and EUROPEAN MUSICAL INFLUENCES – TONAL HARMONIES AND MELODIES and instruments.


Repetition and Ostinato Harmony and Tonality

Dynamics, Expression and

Articulation

CALYPSO is originally the national dance of Trinidad and Tobago and is

particularly associated with social gatherings such as CARNIVAL. Calypso

is normally in 4/4 METRE and uses SYNCOPATION combining story telling

with memorable melodies. Calypso often uses three-beat rhythms with

two long beats followed by a short beat. An example of a Calypso rhythm

is as follows:

SYNCOPATION is also used in Steel Pan music, both in the melody line

and in the chords which are often performed OFFBEAT.

Harmony of Calypso often enriched used ADDED NOTE CHORDS e.g. added 6ths,

7ths and 9ths and Diminished 7th

chords. The HARMONIC RHYTHM of Steel Pan

music is SLOW – with a single chord often lasting an entire bar. Harmonies are

mainly simple and use PRIMARY TRIADS in MAJOR TONALITY and phrases often

end with PERFECT CADENCES. The BASS PAN plays the ROOT of the chord, the

CELLO/GUITAR PAN plays the

THIRD AND FIFTH of the chord and

the ALTO PAN plays the ROOT

AND THIRD of the chord. A typical

CHORD RHYTHM could be:

Since Calypso and Steel Pan music is

designed to be performed at carnivals and

outdoors accompanying dancers or in front

of large audiences, the dynamics are

generally VERY LOUD – FORTISSIMO (ff).

Steel pans are played with sticks/beaters

with rubber tips and notes of LONG

DURATION are playing by ROLLING, giving a

TREMOLO effect which produces a

‘shimmering’ sound as is a unique

TIMBRE/SONORITY to Steel Pans.

Pitch & Melody and Ornamentation Texture Form & Structure and Phrasing

The melody of Calypso music often features IMPROVISATION by the

instrumentalists often on an “established”, pre-existing (folk) melody or

one that has been composed who add ornaments and decorate a melody

line during a performance.

Steel Pan music – mainly HOMOPHONIC

(MELODY AND ACCOMPANIMENT) –

additional textural layers added by CHORD

RIFFS and percussion instruments which

thicken the musical texture.

Calypso often uses CALL AND RESPONSE regular (e.g. 4 or 8-bar) phrases

which are IMPROVISED. Songs are normally in POPULAR SONG FORM.

Steel Pan music often has a recurring ‘A’ section and made up of short

REPEATED PHRASES.




Traditional Music

Artists, Bands & Performers of Calypso and

Steel Pan Music

Calypso is the national dance of Trinidad and

Tobago and is based on a traditional

syncopated rhythm. Steel Bands also

originated from these islands.

Steel Drums were discovered in the late

1930’s by hitting a dented section of an oil

barrel which produced a particular tone.

Calypso and Steel Band music has African

musical influences including: Syncopations

and Cross-Rhythms, use of percussion

instruments, call and response and singing

styles as well as European musical influences

including tonal harmonies and melodies and

instruments such as the guitar.

With advances in recording technology,

Harry Belafonte recorded a “Calypso Album”

in 1956 selling more than a million copies

bringing Calypso to a wider audience

worldwide. Calypso has also been used in

modern-day films e.g. “Under the Sea” from

‘The Little Mermaid’.

Harry Belafonte David Rudder

Mighty Sparrow Andry Narrell


Instruments used in Calypso include the Acoustic and Bass Guitars with Trumpets, Saxophones, Electric Guitars, Drum Kit, Vocals and LATIN

PERCUSSION which includes many types of drums and hand-held percussion instruments including: Steel Bands began in Trinidad when a

great many oil drums were left lying

around after World War II. It was soon

found that they could be turned into

musical instruments. Steel Pans are

made by cutting oil drums into different

sizes and then beating the tops into

concave bowls. Each individual note is then beaten into a small area of the bowl. Small rubber-headed sticks are used to strike each note. These days, Steel Bands

consist of a number of different-sized Steel Pans, and a rhythm section of Latin-American percussion instruments. Each pan or pair of pans has its own name

according to its pitch-range. Some of the pans have more than one name although they mean the same thing.



RHYTHMS OF THE WORLD

Indian Classical Music

Punjabi Bhangra Eastern Mediterranean and Middle Eastern and

Arabic Folk Rhythms African Drumming Calypso and Steel

Bands Samba

Characteristic Rhythms and Metres

Traditional rhythm patterns (including regular and irregular metres, syncopation and cross-

rhythms)

Based on TALAS (cyclic rhythm patterns) played by the TABLA.

Usually one piece of music is based on a single TALA. Each TALA has

a certain number of beats (regular and irregular TALAS are used). The most popular Indian TALA is called TINTAL and has 16 beats per cycle. There are over 300 different TALAS.

4/4 metre and based on the CHAAL rhythm consisting of a repeated eight

note pattern played on the DHOL. The CHAAL rhythm is “swung” (as in

Blues music) with a triplet rhythm feel. Vocal shouts of the word “Hoi!” are often added on the second and fourth beat of the CHAAL rhythm.

Frequent use of IRREGULAR RHYTHMS and IRREGULAR

METRES (5/8 and 7/8 are popular)

with different beats accented. Simple time (2/4, 3/4 and 4/4) often

in Israeli folk dances. Arabic music based on rhythm

patterns called WAZN (similar to Indian Talas) of differing lengths and

time signatures performed on the Doumbek e.g. Maqsum, Saidi

REPETITION and OSTINATOS

used commonly as a basis for IMPROVISATION and “holding the piece together”. SYNCOPATION,

POLYRHYTHMS and CROSS-RHYTHMS very common.

Master Drummer can give musical cues to performers to change

rhythms during a performance and can choose to accent different beats

within a rhythm cycle.

4/4 metre using SYNCOPATION. Calypso often uses three-beat

rhythms with two long beats followed by a short beat.

Steel Bands often use SYNCOPATION both in the melody

and chords which are often performed offbeat.

Built around OSTINATOS usually 4 or 8 beats long (regular phrases).

Each group of instruments can have their own Ostinato featuring offbeat

rhythms and SYNCOPATION. Often the SYNCOPATED rhythm is used, either the 2:3 or 3:2. CALL AND RESPONSE RHYTHMS can be

used between the Samba Leader and ensemble. The main Ostinato

rhythm of Samba is called the GROOVE.


Traditional Music

Can be traced back to around 1700 BC. Developed in temples and royal palaces.

Ragas and Talas learnt by memorising and imitating passed down from teacher to

student by ORAL TRADITION (not written down). Students belong to an extended

family of musicians learning from a particular master – Master-Student tradition. Spirituality – an important part of all Indian

Classical Music and it is almost always related to the Hindu religion. In Southern India, there is a long tradition of where a

Raga is set to words in praise of a particular Hindu deity.

Traditional Bhangra originated as a folk dance in the Punjab region of

North India and Pakistan created by Punjabi farmers working on the land.

These songs and accompanying dances became part of their harvest

celebrations. Gradually, Bhangra spread to other areas of society

becoming a part of weddings, New Year parties and other occasions.

Greek folk music consists of both songs and dances and is heard at celebrations, social events, cafés, restaurants and bars across the

country and its islands. In the Middle East, Arabic, Jewish

and Christian influences have helped shape the folk music.

Much African music is “Traditional” and has been handed down from

father to son via THE ORAL TRADITION (not written down).

African music rarely performed “at a concert”, rather everyone joins in by

dancing, playing an instrument, singing or clapping. African music combines other art forms and us

heard at a number of special occasions.

Calypso is the national dance of Trinidad and Tobago and is based on a traditional syncopated rhythm.

Steel Bands also originated from these islands.

Steel Drums were discovered in the late 1930’s by hitting a dented section of an oil barrel which produced a particular tone.

Samba is a musical genre and dance style with its roots in Africa via the

West African slave trade and African religious traditions. Samba is an expression of Brazilian cultural expression and is a symbol of

carnival. Samba schools formed and compete bringing people together.

Musical Characteristics of

Folk Music

A Raga performance is based on one RAGA and one TALA with

considerable freedom for improvisation and ornamentation by

the performers. A RAGA PERFORMANCE has no

fixed length – it’s up to the ensemble and may last many hours.

Working farmers would sing songs to the sound of the DHOL drum as they

worked to entertain themselves and to pass time. The dance rhythm is

set by the DHOLS – originally a male synchronised dance, often danced in

circles with strong energetic steps and acrobatic stunts. Dancers and

performers often add vocal shouts of “Hoi!” to the music.

A typical ensemble in Greek folk music could consist of the

DOUBMEK, BOUZOUKI, violin, bass and vocals. Palestinian and Arabic music often features the

OUD, while Israeli music has taken

on many more Western musical instruments such as the guitar and the piano. The harmony is often

MICROTONAL.

Traditional drums such as the DJEMBE, TALKING DRUM and

DUNDUN remain popular in African

music today, often combined with a number of percussion instruments, stringed instruments and woodwind instruments. Rhythm remains a key

feature of African drumming.

Calypso and Steel Band music has African musical influences including: Syncopations and Cross-Rhythms, use of percussion instruments, call and response and singing styles as well as European musical influences

including tonal harmonies and melodies and instruments such as

the guitar.

The instruments of Samba have been influenced by Portuguese

colonies who imported slaves from Africa, while the rhythms of Samba

are of African origin.

Impact of modern technology on

traditional music

Globalization means more people around the world have access to

Indian Classical Music via the Internet (YouTube®) which can also be heard at the cinema, on the radio

or at live concerts (although traditional Raga performances have

had to be restricted to a certain length). Indian musical instruments

now heard in jazz, pop and rock either live or sampled.

Bhangra has gained popularity over the last 40 years and developed a

more “modern” form as people migrated from Asia to England and

other countries; they took their music and dance with them. Bhangra is often fused with Western popular music and is popular in England’s Asian nightclubs in a high-energy

style form of dance music.

Globalization means more people around the world have access to

Eastern Mediterranean, Arabic and Israeli folkl Music via the Internet (YouTube®) which can also be

heard on the radio or television and at live concerts.

African music has been a major influence on the development of

popular music contributing rhythms, structures, melodic features and the use of improvisation to such styles as blues, gospel and jazz, brought over to America by slaves. High quality recordings of traditional

African music are now possible with advanced recording techniques.

With advances in recording technology, Harry Belafonte

recorded a “Calypso Album” in 1956 selling more than a million copies

bringing Calypso to a wider audience worldwide. Calypso has also been

used in modern-day films e.g. “Under the Sea” from ‘The Little Mermaid’.

Samba has become popular as a Latin-American ballroom dance on TV shows such as Strictly Come

Dancing and Dancing with the Stars. Samba has also been mixed/fused

with Drum ‘n’ Bass in a musical fusion creating “Sambass” and

artists and groups of popular music have used sounds and rhythms of Samba in their music e.g. Gloria

Estefan and Jamiroquai.

Names of Performers and

Groups

Ravi Shankar Alla Rakha Anoushka Shankar

Alaap Panjabi MC

Yannis Parios Le Trio Joubran

Effi Netzer

Bolokada Conde Ladysmith Black

Mambazo

Harry Belafonte David Rudder

Mighty Sparrow Andry Narrell

Fundo de Quintal



RHYTHMS OF THE WORLD KEY WORDS

Key Word Meaning Understood

(tick) Signatures

(staff, student, parent)

Agogo Bells A cowbell with two pitches, one high and one low, played with a wooden stick and hand-held. The bells can also produce a sound by squeezing them so that they strike each other. Like the Tamborim, the Agogo Bells play more complicated rhythms and feature in both Calypso and Samba music.

Articulation How smoothly or “spikily” something is played e.g. Legato means played smoothly often shown by slurs, Staccato means played short and sharp often shown by dots above or below a note, Accents (>), Sforzandos (Sfz or Sf) and Tenuto (meaning held or sustained shown by a line above a note) are also means of articulation

Bass Pan The largest Steel Pan within a Steel Band ensemble playing the lowest pitch and playing the bass note, often the root of the chord often using dotted rhythms.

Bouzouki A stringed instrument that has three or four pairs of strings tuned either to the same note, or an octave apart to give the Bouzouki its distinctive timbre or sonority. It is most often used as a melody instrument and often plays distinctive slides and tremolos in thirds in Greek folk music.

Cabasa A percussion instrument used in Calypso music constructed with loops of steel ball chain wrapped around a wide cylinder which is fixed to a long, narrow wooden or plastic handle. The player places one hand on the metal chain, to provide pressure, while holding the wooden handle with the other hand and twisting the instrument back and forth as per the rhythmic pattern desired.

Cadence A progression of (at least) two chords that concludes a phrase, section or piece of music. Cadences can be defined as Perfect, Plagal, Imperfect and Interrupted. Greek folk music has phrases which end with clear cadences.

Call and Response A succession of two different phrases where the second phrase is heard as a direct commentary on or response to the first. Used in African Drumming, Calypso and Samba.

Cello Pan The second largest Steel Pan within a Steel Band ensemble playing the chords, melody or bass. The Cello Pan is also known as the Guitar Pan and often plays the third and fifth notes of a chord on offbeats.

Chaal The rhythm on which Punjabi Bhangra is based consisting of a repeated eight note pattern in 4/4 metre. The Chaal rhythm is “swung” (as in Blues music) and has a triplet feel (dum-di, dum-di, dum-di, dum-di).

Compound Time 6/8, 9/8 and 12/8 are compound time signatures. In compound time, each beat is a dotted note. Although 6/8 time has six quaver beats, the beat is subdivided into two dotted crotchets.

Conga A pair of tall, narrow single-headed drums played with the hands on a stand which the musician has to stand to play used in Calypso and Samba.

Cross-Rhythms The effect produced when two “conflicting” rhythms are heard together.

Cuica A Brazilian friction drum used in Samba music with a large pitch range, produced by changing the tension on the head of the drum. The tone/timbre/sonority of the Cuica produces a high-pitched squeaky sound.

Dhol A type of drum used in Bhangra music (smaller than the Dholak) and played with the hands, often slung from the shoulder. The Dholakplays more complex rhythms and decorated parts along with the Dhol.




(tick) Signatures


Djembe A skin-covered African hand drum shaped like a large goblet made out of single tree trunk hollowed out. The skin is made from goatskin and rope is used to tighten the skin to tune the drum to the appropriate pitch. The Djembe is played with the hands and can produce three different tones – the Bass Tone, the Slap Tone and the Tone. Drummers often create effects by dampening the sound or striking the wooden part of the drum.

Dotted Rhythms A dot after a note increases its value by half again. A dotted crotchet lasts for one and half crotchets, a dotted quaver lasts for one and half quavers.

Double Seconds The second smallest Steel Pan within a Steel Band also known as Double Alto or Second Tenor. Double Seconds play a second melody underneath the Soprano (Ping Pong or First Tenor) Steel Pan.

Dynamics The loudness or softness of a sound or section/piece of music.

Expression The art of playing (or singing) music with emotional communication. The elements of music that comprise expression include dynamics, phrasing, timbre/sonority and articulation, colour, intensity, energy and excitement. Expression is particularly important in Indian Classical Music in the performance of ragas.

Guiro An open-ended hollow gourd with parallel notches cut in one side. It is played by rubbing a stuck along the notches to produce a “ratchet” sound/timbre/sonority. The Guiro can produce both long and short sounds, made by scraping up and down in long or short strokes and is used in Samba music.

Guitar Pan The second largest Steel Pan within a Steel Band ensemble playing the chords, melody or bass. The Guitar Pan is also known as the Cello Pan and often plays the third and fifth notes of a chord on offbeats.

Harmony The sounding of two or more musical notes at the same time. Harmony can be described as Diatonic, Chromatic, Consonant, and Dissonant, the use of a Pedal Note or Drone and different types of chords.

Improvise/

Improvisation Composing or creating previously unprepared music “on the spot” or during a performance. Improvisation features heavily in Indian Classical Music, Eastern Mediterranean and Middle Eastern folk music, African Drumming, Calypso and Samba.

Irregular Metres Time signatures where there are an odd number of beats per bar e.g. 5/8 or 7/8, often used in Eastern Mediterranean and Middle Eastern folk music.

Maracas A hollow gourd or gourd-shaped container filled with pebbles, beans or similar objects, forming one pair and shaken as a percussion instrument used in African and Calypso music.

Melody Music contains notes in succession and notes in combination. A linear sequence of notes is referred to as melody and is often the most memorably part of a song/piece of music and called the “tune”.

Metre The rhythmic structure, the patterns of accents heard regularly recurring measures of stressed (accented) and unstressed (unaccented) beats at the frequency of the music’s pulse. Metre is notated at the beginning of a composition with a time signature.

Microtonal A type of Harmony used in Arabic folk music and Punjabi Bhangra where the intervals between notes of a scale (or mode) are smaller than a semitone, often a “quarter tone” giving 24 notes in an octave. Microtonal music can sound “strange” or “exotic” to ‘Western ears’ who are used to hearing 12 intervals per scale.

Mode A seven-note scale with a fixed pattern of tones and semitones between the notes, different from conventional major and minor scales. Arabic folk music uses a system of melodic modes called Maqam with Microtones.

Ornament(s) (-ation) Ornaments or embellishments are musical flourishes that are not necessary to carry the overall line of the melody (or harmony), but serve instead to decorate or ornament that line. Rhythmic (and melodic) ornamentation occurs frequently in Indian Classical Music, Punjabi Bhangra, African Drumming, Eastern Mediterranean and Middle Eastern folk music, Calypso and Samba music.




(tick) Signatures


Ostinato

A rhythmic ostinato is a short, constantly repeated rhythmic pattern. A melodic ostinato is a short melodic phrase repeated throughout a composition, sometimes slightly varied or transposed to a different pitch. Rhythmic ostinatos are used frequently in Indian Classical Music (talas), Punjabi Bhangra (chaal rhythms), African Drumming, Eastern Mediterranean and Middle Eastern folk music (wazn), Calypso (including syncopation) and Samba music (often the Son Clave rhythm).

Parallel Melodies Two or more melodies being performed at the same time the same musical interval apart.

Pitch How high or low a note is. The pitch of a note can be measured by a unit called Hertz.

Polyrhythm(s) When two or more rhythms with different pulses are heard together e.g. where one drum is playing in triple time and another is playing in quadruple time = three against four

Pulse The underlying beat in a piece of music.

Raga A type of scale, mode and melody used in Indian Classical music each with a particular mood and associated with a particular time of day. Also the name given to a complete piece/performance of Indian Classical music.

Repinique A small drum used in Samba bands and Samba music, similar to a snare drum but taller, that is usually played with one stick and the bare hand. It has a more metallic tone than the snare drum and can be used to play solo cues in call and response patterns.

Repetition Repetition is important in music, where sounds or sequences are often repeated. Repetition is part and parcel of symmetry – and of establishing motifs and ostinatos.

Rhythm A series of notes of different lengths that create a pattern which usually fits with a regular beat or pulse.

Shakers Describes a large number of percussive musical instruments used for creating rhythm in music. They are called a shaker because of the method of creating the sound involved shaking them – moving them back and forth rather than striking them. Shakers include Maracas in Calypso and Chocolo in Samba music.

Simple Time Where the beat is a whole note e.g. a crotchet or minim beat – 2/4, 3/4,4/4 and 2/2 are all simple time signatures.

Sitar An important instrument in Indian Classical music which has a long neck and has between four and seven metal strings. Most of the strings are plucked with a metal plectrum for the melody and others create the drone. The Sitar has sympathetic strings underneath that vibrate and create a thick “shimmery” timbre/sonority. The tuning of the strings can be adjusted for different pieces and the Sitar has movable frets and a gourd resonator. A Sitar player can pull strings to make notes “bend” or “distort”. Sliding a finger along a string as it is plucked gives a sliding glissando sound called a “mind”. The Sitar player plays the melody as well as some of the drone notes based on a raga which is often improvised. The Sitar is played in a sitting position with crossed legs.

Son Clave A rhythm used in Samba music originating from Son music played by the Claves, but in Samba used as a rhythmic ostinato. There are two main variants of Son Clave, known as 2:3 and 3:2.

Steel Pan Steel Pans are made by cutting oil drums into different sizes and then beating the tops into concave bowls. Each individual note is then beaten into a small area of the bowl. Small rubber-headed sticks are used to strike each note. These days, Steel Bands consist of a number of different-sized Steel Pans, and a rhythm section of Latin-American percussion instruments. Each pan or pair of pans has its own name according to its pitch-range.

Structure (Phrasing) The way a piece of music is built up and ordered into different sections e.g. introduction, verse, chorus, ending/coda etc. A musical phrase can be used to describe smaller sections of the music.

Surdo A bass drum used to make the beat of Samba music. Surdos keep a steady beat and alternate between higher and lower pitches. A smaller Surdo often plays an important role within the ensemble.




(tick) Signatures


Syncopation A way of changing a rhythm by making some notes a bit early, often so they cross over the main beat of the music on the “weaker beats”.

Tabla

A pair of small drums used in Indian Classical music and Punjabi Bhangra placed side by side on the floor in front of the player. Their main role is to keep the time, but they sometimes interact with the soloist and have short solos. The heads are made out of goatskin with a central area which has a coating made from iron filings and rice flour. Tabla playing is very difficult and it can take years to master the different stokes (called Bols). Some strokes are open (allowed to ring and vibrate) and others are closed (dampened).

Tala

Indian classical music is based on rhythm patterns called Talas (single Tala) - a repeating rhythm pattern usually played by the Tabla. Usually one piece of music is based on a single Raga and a single Tala. There are over 300 different Talas, or rhythmic cycles, in Indian classical music and like Ragas, they all have names. However, some are used more frequently than others. Indian musicians must have a thorough knowledge of Talas when they improvise, so that their playing or singing has rhythmic structure. Each Tala has a certain number of beats, or mātrās, per cycle (called the avartan). And each cycle is divided into a number of sections called vibhāgs. The most popular Tala is called Tintal (Teental) and has 16 beats per cycle.

Talking Drum The most famous is the TALKING DRUM, called so because the PITCH can be altered by tightening or loosening a cord around the body of the drum and the changes have been likened to the sound of the human voice. Talking Drums are usually played with sticks.

Tambourine (Defi/Daf/Riq) A musical instrument from the percussion family consisting of a frame, often of wood or plastic, with pairs of small metal jingles. Classically, the term tambourine denotes an instrument with a drumhead, though some varieties may not have a head at all. The Tambourine can be labelled ‘Defi’ or ‘Daf’ or ‘Riq’ in Greek and Arabic countries.

Tanpura A stringed instrument similar to the Sitar used in Indian Classical music, but it has fewer strings (usually four) and no frets. Unlike the Sitar, it plays very simple and repetitive music – frequently performing the drone part within a raga as a form of musical accompaniment

Tempo The speed of the underlying beat in a piece of music. Tempo is measures in BPM or Beats Per Minute. 60 BPM is one beat every second. Sometimes the tempo is written at the beginning of the music and is called a Metronome Marking.

Tenor Pan The smallest and highest pitched Steel Pan in a Steel Band also called the Soprano Pan, Ping Pong Pan or First Tenor Pan usually playing the melody.

Texture

How much sound is heard, in its simplest form “thick” texture is a lot of sound and “thin” texture is a few sounds. Much rhythmic music played by ensembles has a thick Polyphonic texture where rhythms interweave with other creating a thick web of sound although if all members of the group are playing the same rhythm at the same time, then texture will be Monophonic. Homophonic Melody and Accompaniment textures feature in Punjabi Bhangra, Greek folk music and Steel Pan Calypso music.

Timbales Shallow single-headed drums with metal casing used in Samba music. The player uses a variety of stick strokes, rim shots and rolls to produce a wide range of percussive expression during solos and at transitional sections of music.

Timbre/Sonority Each instrument’s unique “tone colour” or “tone quality”. Timbre/Sonority is the quality of a musical note, sound or tone that distinguishes different types of sound production such as voices and musical instruments, string, wind, brass and percussion instruments.

Tonality The character of a piece of music is related to its key centre or tonality. Tonal music is in a major or minor key, atonal music is not related to a tonic note and therefore has no sense of key and modal music is based on a seven-note scale.

Triplets Three notes played in the time of two.

Whistle Also called an APITO, leaders of Samba Bands (called a SAMBISTA) use whistles to signal an instruction to the rest of the Samba band. Samba Whistles are loud and have a piercing tone so that they can be heard clearly about all of the other instruments.



Learning Outcomes

(Grade 1-3)

(Grade 4-6)

(Grade 7-9)

Signatures (staff, student, parent)

I can describe some of the characteristic rhythmic features and metres of

Indian Classical Music and traditional Punjabi Bhangra


Traditional Eastern Mediterranean and Arabic folk rhythms including

traditional Greek, Palestinian and Israeli music

I can describe some of the characteristic rhythmic features and metres of Traditional African Drumming


Traditional Calypso and Samba

I understand the originals and cultural context of the traditional music of

Indian Classical Music, Punjabi Bhangra, Traditional Eastern

Mediterranean and Arabic folk rhythms, Traditional African Drumming and


I understand the musical characteristics of the folk music of Indian

Classical Music, Punjabi Bhangra, Traditional Eastern Mediterranean and

Arabic folk rhythms, Traditional African Drumming and Traditional

Calypso and Samba

I understand the impact of modern technology on the traditional music of




I can name some performers and groups which compose and perform




I understand the ways in which performers work together in Indian

Classical Music, Punjabi Bhangra, Traditional Eastern Mediterranean and

Arabic folk rhythms, Traditional African Drumming and Traditional

Calypso and Samba

I can describe how a range of musical elements (instruments and timbre, pitch

and melody, rhythm and metre, tempo, dynamics, expression and articulation, texture,

structure and phrasing, harmony and tonality, repetition and ostinato and ornamentation)

are combined in Indian Classical Music, Punjabi Bhangra, Traditional

Eastern Mediterranean and Arabic folk rhythms, Traditional African

Drumming and Traditional Calypso and Samba



Learning Outcomes

(Grade 1-3)

(Grade 4-6)

(Grade 7-9)

Signatures (staff, student, parent)

I have some knowledge of techniques of performing traditional drums

I have some knowledge of traditional rhythm patterns (including regular

and irregular metres, syncopation and cross rhythms)

I have some knowledge of how texture builds with added parts

I have some knowledge of how improvised melodic lines are based on

traditional scales (including modal and microtonal ideas)

rhythms of the world...dotted rhythms a dot after a note increases its value by half again. a dotted...

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