Introduction to Middle Eastern Rhythms

By Bryan Lucas

When I first started playing Middle Eastern rhythms, I found that there is a sort of short cut that would allow me to learn the rhythm faster. Only later, when you know the basic rhythms, could you add the fill-ins that make the rhythm more accentuated. I have written down the rhythms below, based on the version that I created when I first started playing.

Please note that the abbreviations Ds, Ts & Ks stand for the sound when playing on the tabla as follows:-

D – Dum (the bass sound of the drum struck by the dominant hand)
T – Tak (the treble sound of the drum struck by the dominant hand)
K – Ka (striking the rim of the drum with the non-dominant hand)
- - Pause in the rhythm

Saiidi (4/4) Rhythm

D T – D D – T
1 2 3 4

This is my favourite rhythm of all time, the Saiidi. Originating from the Egyptian men’s stick dance, the Raks al Tahteeb. Saiidi is also used in cane dance Raks al Asaya, of which is based from the tahteeb. Majestic and powerful, the Saiidi rhythm is most versatile in playing with many other songs. I often use the Saiidi rhythm to play with songs of Techno origin.(this I call Techno-Tabla)

Maqsum (4/4) Rhythm

D T – T D – T (Version 1)
D D – T D – T (Version 2, similar to Baladi)
1 2 3 4

I always relate Maqsum to the song Aziza, probably because the song starts with a Maqsum and Aziza is one of my favourite song. The Maqsum rhythm is the base of many Folk Egyptian rhythms. I have written down two different version of the Maqsum based on my understanding of the Maqsum. Following the second version you then have the Masmoudi Saghir, or better known as the Baladi rhythm.

Baladi (8/4) Rhythm

D D K T D K T -
1 2 3 4

The word baladi, as translated from Arabic, means "of the country". It speaks of story telling and folklore or the expression of a people about their culture and their everyday life. The term, raks baladi or baladi dance, refers to the folkloric style of Egyptian group or solo dance. It is also known as the Masmoudi Saghir, which means “small” Masmoudi which is actually, Masmoudi squeezed in half time.

Masmoudi (8/4) Rhythm

D D-TTT D–TT-TT
1 2 3 4 5 6 7 8

With 2 dums starting the beginning of the rhythm, the Masmoudi sounds gallant and advancing. Some versions call it the “warring” Masmoudi. My personal interpretation, I think it sounds like a rhythm on a warpath, which I really like. Played in a certain way it can bring about a certain rhythm that’s mystical and alluring. This rhythm is easy for dancers to follow as it has an unhurried feel to it.

Malfuf (2/4) Rhythm

D TT D TT
1 2 3 4

The Malfuf is a very intresting rhythm which is sometimes used in three different places of a dance piece, front, end or centre. Which I find pretty versatile, in a sense of transition points of a drum solo. I’ve seen some Turkish street performers in Izmir use the Malfuf pretty often.

Chiefteteli (8/4) Rhythm

D-T T T T -D D T- T T D – T T - T T - D D T -
1 2 3 4 5 6 7 8

The Chiefteteli is a rhythm that is Turkish. This rhythm is generally used for soft movements such as undulation, or perhaps a Taqsim with the Chiefteteli rhythm playing softly in the background. The Chiefteteli rhythm is one of the first few rhythms that I learned to play when I first got started on Middle Eastern Music.

Ayub (2/4) Rhythm

D – KDK D – KDK
1 2 3 4

Also known as the Zar, the Trance dance(not the techno kind) is used as a dance to ward off evil spirits in Egypt and North Africa. In Turkey, it is used for dervish dancers to bring them to a higher state of mind. One thing I do note, is that its monotonous and continuity puts you in a sort of trance like “sleep” should you keep playing it for a while. I do remember one time when I was doing my morning practice with the Ayub but I extended it a little to keep my hands in practice putting me in a sort of stoned state of mind.

17 Sep 08
Bryan Lucas