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出处: http://khafif.com/rhy/Q: So I want to learn some rhythms. Where do we start? Let's start with a rhythm called "maqsuum". This rhythm is common and widespread -- you will find it in music throughout the Middle East and Mediterranean. The simple Maqsum is the basis of many rhythms and is especially important in modern and folk Egyptian rhythm. If you listen to Middle Eastern percussion accompanying music you will often hear the distinctive of the Maqsum. I've heard Hossam Ramzy exaggerate that maqsum is the basis of all Egyptian rhythm. The simple maqsum and all the ways in which it can be embellished really demonstrates the Middle Eastern percussion tradition. The Middle Eastern percussion instruments are responsible for laying out the meter of a song but there is also room for plenty of expression by each individual instrument. In parts of the Mahgreb (e.g. Tunisia) this family of rhythms may be called "Duyek". maqsuum 4/4 1-+-2-+-3-+-4-+-|D-T-__T-D-__T-__| basic formD-T-kkT-D-kkT-kk| filledD-S-tkS-D-tkS-tk| accented"baladii", which is a more folksy version of the basic Middle Eastern "maqsuum", is characterized by the familiar two DUMs that lead the phrase. It is probably more properly called "maSmuudii saghiir" ("small maSmuudii") since it has the "maSmuudii" accent and phrase but is played in 4 beats rather than 8. Some say that to play it with the traditional "feel" the accents (after the first) should lag slightly. The rhythm is generally known as "baladii" (beledi, baladi, balady) among the American belly dance community. The word "baladii" means "of the country" or "old fashion" and, I've heard, implies (in Egypt) a bit of a "hick-ness" or folk-ness. This rhythm is very typical (to the point of overuse) for modern belly dance, but the double-DUMs tend to drown out melodic accompaniment -- therefore when playing with a subtle melodic instrument that cannot easily be heard, a simpler version of "maqsuum" is usually preferred. "baladii" is usually played more slowly that a 4/4 "maqsuum". baladii 4/4 1-+-2-+-3-+-4-+-|D-D-__T-D-__T-__| basic formD-D-tkT-D-tkT-tk| filledD-D-t-S-D-t-S-tk| "Egyptian Classical"An evenly filled version of a rhythm (such as the last baladii variation above) is often called a "walking" rhythm due to its even stride. walking maqsuum 4/4 1-+-2-+-3-+-4-+-|D-T-k-T-D-k-T---| D-T-k-T-D-k-T-tk| with the bridgeThe couple of beats you are finding near the end of some of these variations are known as a "bridge" or "chain" -- they are not basic to the rhythm, but are often played as a pick up into the next measure. "sayyidii" (saidii, saiidii) is another rhythm of the maqsuum family. A sayyidii is made by doubling the middle DUM. It has a different flavor of fill and accent, is popular in upper Egypt (remember "upper" Egypt is in the south). It is similar to baladii, usually played fast, upbeat and powerfully. It is traditionally used for the Tahtib (a man's ritual "stick dance") as well as belly dance (especially the cane dance -- which is partially a parody of the man's version). I've also heard this rhythm called "Ghawazee" since these dance forms, and a particular style of belly dance using this form of rhythm, are popular among the Egyptian Ghawazee. This form may also be called "baladii maqluub". Note that, although the rhythm theoretically has a DUM at the beginning, after the initial cycle of the rhythm that beat it is often alternatively played as a TEK. This tends to drag the second TEK of the rhythm earlier and emphasize the double-DUM part. sayyidii 4/4 1-+-2-+-3-+-4-+-|D-T-__D-D-__T-__| D-T-tkD-D-tkT-tk| T-T-tkD-D-tkT-tk| after 1st measureD-tk-kD-D-tkT-tk| syncopated at the beginningDkS-kkDDD-tkS-tk| syncopated with 3 DUMsYet another variation of a maqsum with different accent, Sombati is used during taaqasiim or for vocal accompaniment. sombati 4/4 1-+-2-+-3-+-4-+-|D-__T-T-D-__T-__| D-_kTkT-D-kkT-tk| I've heard some Egyptians refer to the simple maqsuum as "waaHida wa niSf". Or possibly "waaHida wa noSS" (half wahida) -- possibly because it (at least theoretically) derives from the simple form of the first half of "waaHida". "waaHid" means "one" in Arabic. These rhythms are so called because they have a single accent (DUM) at the beginning. A particular, "waaHida sayyAra" is also called "Libi" by Egyptians due to its apparent modern popularity in Libya. "waaHida" is often used during the vocal/legatto parts of songs -- the single accent makes it easy for the drum to follow the long, sometimes stretched syllables of this part of the song where the vocallist or instrumental soloist is improvising. The rhythm part accents the cycle/measure boundary and follows the melody as the measure is stretched or shortened. The "waaHida", since it is primarily just an initial accent with varying fill, can be used to make transitions between rhythms of various counts and fills (i.e. can be used as a "break"). waaHida 4/4 1-+-2-+-3-+-4-+-|D---____D---m---| sayyaara (slow)D---____T---k---| D---__T-____T---| saghiiraD-tktkT-tktkT-k-| "tawil"D-Tk-kT-Tk-kT-k-| khafiif (fast)"bambii" is a modern rhythm similar to a waaHida that has a 3 DUM sequence either by finishing waaHida with 2 DUMs or rotating it so that the 3 are at the beginning. bambii 4/4 1-+-2-+-3-+-4-+-|D-Tk-kT-Tk-kD-D-| D-D-D-Tk-kT-Tk-k| Notice how the "saghiira" variation of "waaHida" leaves the 3rd beat empty. This seems a strange accent pattern -- more on this below. If you take this "waaHida" and finish with another common 4 beat segment (making an 8),you have another rhythm, "ciftitelli", that is considered a Turkish or Greek rhythm. It is presumably named after the Turkish instrument that has strings tuned an octave apart. It is, at its basis (if you cross your eyes a lot), similar to a maqsuum. It is usually filled as an 8-beat rhythm and has a much different feel. It is common in Turkish (and other) belly dance -- usually it is play moderately slowly and preferably (I think) with a lot of space (i.e. not all "filled in"). Drummers tend to have fun filling in the end of the rhythm in various, sometimes unexpected, ways. It is sometimes used to accompany a taaqasiim (melodic improvisation). Some drummers (confusingly) call the rhythm "taa-qa-siim". It is very confusing because a very similar Arabic word "taq-sim" means "split" or "divided" and can be used to refer generally to "maqsuum". Egyptians tend to play simpler version of Ciftetelli than you might find in Turkey and call it "waaHida taaqasiim" or maybe "waaHida kabiir". ciftitelli (shiftaatellii) 8/4 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-|D---__T---__T---D---D---T---____| D-tkt-T-tkD-T-tkD---D---Tktkt---| Often rhythms are combined like this, or have versions that are half or twice as long. The basic maqsuum played half as quickly is known as "maSmuudii". The Masmoudi (I've reverted to the common transliteration) rhythm is characteristically a joining of two 4-beat phrases. Sometimes it is called "Masmoudi kabiir(big)" to differentiate it from a 4-beat rhythm (Masmoudi saghiir). Often the first phrase has 2 leading beats. One of these versions is sometimes called "warring masmoudi" -- supposedly it sounds like a man and woman arguing. A 3 leading beat version is called "walking masmoudi" -- the even stride making it particularly suited for marching. Masmoudi's are fairly common in belly dance music -- historically they are also used in muwashashat -- they are particularly percussion-intense and make a quite convenient and recognizable rhythm in which a dancer can accent a dance. This, as I said, is at its core the same rhythm as maqsum but it is filled as an 8 rather than a four and played more slowly. Generally speaking Masmoudi's sound big (kabiir) and the maqsums quick and nimble (khafiif). There is some evidence that the masmoudi rhythms were used in early muwashahat music and have a more art-music basis than the maqsum which is currently found in a lot of folk songs. The Masmouda are one of the three main groups of Berbers in Morocco. They live west of the Rif and Grand and Middle Atlas in Morocco. "Masmouda" may also be used to refer to the region. maSmuudii 8/4 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-|D---D---____T---D---____T---T---| D---D---tktkT-tkD-tktkt-TktkT-tk| D---D---D---T---D---____T---T---| A maqsuum played as a 2 beat rhythm is called "falaahii". It is usually very fast and often evenly filled. It is a common folk version used for dance ("falaah" is another word for country-folk or peasant). It is common in upper Egypt. It is usually played about twice as fast as a maqsum and therefore is often considered a 2 beat rhythm -- played more slowly (as a 4) it is the "walking maqsuum" discussed above. falaahii 2/4 1-+-2-+-|Dk-kD-k-| DtktDktk| DgkgDkgk| Ayyuub is similar. It is a common and fairly simple 2/4 rhythm. It is played in areas of the Middle East from Turkey through to Egypt. It is used in a slow form for a tribal north African (Egyptian) trance dance known as the Zar (the rhythm is sometimes called "Zar") -- toward the west (Morocco) these same sorts of trance dances are generally done to a 6 beat rhythm. Ayyuub is also quite common at a faster (or much faster) pace in belly dance music and music for folk line dances. Some say that Ayyuub is supposed to sound like a camel walking. Bayou is a rhythm with the same time pattern but has a double DUM and is usually played more slowly -- it is often used in belly dance drum solos. ayyuub 2/4 1-+-2-+-|D--kD-T-| D-kkD-S-| DktkDtkt| bayou 2/4 1-+-2-+-|D--DD-T-| D-kDD-S-| If you exchange the fundamental DUMs and TEKs in ayyuub you have another rhythm: karAtshi (Karatchi). Karatchi is a fast 2/4. Note that the second DUM somehow comes out less accented than the other accented beats. It is used in modern Egyptian music and sometimes alternated with similar rhythms as a part of a song. Hossam Ramzy says of Karatchi: "From the word 'Karatchi' you can tell that the next rhythm is not Egyptian. it's also very unusual because it starts with a TAK, which is the treble beat rather than the DOM, which is the bass beat. However it is widely used in Egyptian music and North African music." karAtshi 2/4 1-+-2-+-|T--kT-D-| TktkT-D-| Here are a couple of other simple 2 and 4 beat rhythms. "vox" or "foks" (could it be "fox", and named after the "foxtrot"?) is very simple 2 (essentially a march -- probably inspired by western music) often accented in sets of 4 or 8. Used in modern Egyptian compositions. Used by Egyptian composer Mohamed Abdel Wahab. foks/vox 2/4 1-+-2-+-|D---T-K-| "Jerk" is a Modern Nubian rhythm inspired by a dance of the same name. (Similar to Samba?) In Egyptian songs (e.g. Fi Yom Wi Leyla) I've heard the double-Dums very close together -- although someone told me that Souhail Kaspar (a Lebonese teacher in California) taught them the less syncopated (second) version below. jerk/jaark/sherk 4/4 1-+-2-+-3-+-4-+-|D---T---DD--T---| D-kkT-tkDDtkT-tk| D---T---D-D-T---| D-tkG-tkDkDkG-tk| Conga Masri is another simple rhythm that seems particularly popular among the South American belly dance crowd: conga masri/congo masri 4/4 1-+-2-+-3-+-4-+-|D---T---D-T-----| D-tkT-tkD-T---tk| Bolero and a very similar rhythm, Rhumba, are used in many places in the Middle East. Bolero is usually played more slowly and often with a sort of triplet near the beginning -- it is used to accompany songs like "Erev Shel Shoshanim" and "Miserlu". Rhumba is often played almost twice as fast (Rihlat El Ghawzia by Hossam Shaker). Although fundamentally these are 3-3-2 rhythms (like malfuf/waaHida saghiira) -- the feeling is rather different. This family of rhythms (it's ancestors) and variations were probably brought to Spain by Middle Eastern musicians (and gypsies?), adopted into Latin music and probably re-introduced in various ways into modern Middle Eastern tunes. bolero 4/4 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-|D---t3kkT---k---T---k---D---k---| D---k-k-T---k-k-T-k-T-k-D---T---| rumbaa/rhumba 2/4 1-+-2-+-3-+-4-+-|D---____T---D---| D-tkt-K-T-K-D-k-| "zaffah" is a rhythm used in the Egyptian wedding processional. Its basic nature is that of a march. It is used in the wedding processional itself and also sometimes for belly dances that are reminiscent of these events. (Note that the related "candelabra dance" is usually done to a more up-beat 2 or 4 beat rhythm -- e.g. Saidi). It may also be called "Murrabba Jaza'ira". zaffah 4/4 (or 8/4) 1-+-2-+-3-+-4-+-|D-tkt-t-D-t-t---| D-tkt-t-D-t-t-tt| D-tkt-t-D-t-D---| D-D-D-t-tktkt-t-| Hossam Ramzy's "Big Zaffa" {M:11}{M:11}{M:11} 英语没学好的我飘过{M:9} 糟了，英语不行{M:9}4
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