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1267:) show cross-beats. Observing the dancer's steps almost always reveals the main beats of the music. Because the main beats are usually emphasized in the steps and not the music, it is often difficult for an "outsider" to feel the proper metric structure without seeing the dance component. Kubik states: "In order to understand the motional structure of any music in Africa, one has to look at the dancers as well and see how they relate to the instrumental background" (2010: 78).
1084:, performers do not think of time-line patterns as 'additive rhythms,' . . . 'Additive rhythms' are the analytic construction of the musicologist." Agawu states: "Additive rhythm . . . is a highly problematic concept for African music . . . it is not in sync with indigenous conceptions of musical structure. It arises as a kind of default grouping mechanism for those transcribers who either disregard the choreography or fail to accord it foundational status."
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prefer the divisive format. Those who imagine the addition of three, then three, then two sixteenth notes will treat the well-formedness of 3+3+2 as fortuitous, a product of grouping rather than of metrical structure. They will be tempted to deny that
African music has a bona fide metrical structure because of its frequent departures from normative grouping structureâAgawu (2003: 87).
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1199:, it is possible to count or feel it in several different ways, and divide by several different beat schemes. In the diagram below the five-stroke bell pattern is shown on top and a beat cycle is shown below it. Any or all of these structures may be the emphasis at a given point in a piece of music using the bell pattern.
1822:
1005:
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The method of constructing iron bells in Cuba is identical to how it is done in Africa. Not surprising, many
African bell patterns are played in Cuba as well. The standard pattern is the most widely used bell pattern in Cuba. Some of the Afro-Cuban rhythms that use the standard pattern are: Congolese
1079:
within both cultural understanding, and by most contemporary music theoreticians. Novotney states: "The
African rhythmic structure which generates the standard pattern is a divisive structure and not an additive one . . . the standard pattern represents a series of attack points, . . . not a series
518:
is verbalized as: "pa ti pa pa ti pa ti pa ti pa pa". The "pa"s sound the standard pattern by striking the gourd against the knee. The "ti"s sound pulses in between the bell strokes, by raising the gourd in an upward motion and striking it with the free hand. As is common with many
African rhythms,
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form. For example, Justin London describes the five-stroke version of the standard pattern as "2-2-3-2-3", while
Godfried Toussaint describes the seven-stroke form as "2-2-1-2-2-2-1." The following example of the five-stroke standard pattern is represented within an additive structure: 2+2+3+2+3.
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For cultural insiders, identifying the . . . âdance feetâ occurs instinctively and spontaneously. Those not familiar with the choreographic supplement, however, sometimes have trouble locating the main beats and expressing them in movement. Hearing
African music on recordings alone without prior
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to be the two simplified forms of the standard pattern. Pattern 2 was the first
African bell pattern to be transcribed. Pattern 2 contains exactly the same pattern of attack-points as Pattern 1, but begins on a different stroke, has a different relationship to the main beats, and therefore, is a
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Although the difference between the two ways of notating this rhythm may seem small, they stem from fundamentally different conceptions. Those who wish to convey a sense of the rhythmâs background , and who understand the surface morphology in relation to a regular subsurface articulation, will
958:
Some bell patterns are single-celled and therefore, not key patterns. A single-celled pattern cycles over two main beats, while a two-celled key pattern cycles over four main beats. The most basic single-celled pattern in duple-pulse structure consists of three strokes, known in Cuban music as
1490:
The following 24-pulse bell pattern is used in the ararĂĄ rhythm afrekete. The ArarĂĄ are Cuban descendants of the Fon/Ewe ethnic group, so it's perhaps not surprising that it is the same pattern as the bell part used in the Ewe rhythm kadodo, shown earlier in this article. However, as used in
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related, but different key pattern. Pattern 3 is another variant of the standard pattern, one which contains exactly the same pattern of attack-points as the standard pattern, but in a different relationship to the main beats. The geographical border of
Pattern 3 seems to be the
1012:
1429:
The following 24-pulse bell pattern is used in the ararĂĄ rhythm afrekete. The first measure simply sounds the four main beats. Notice that the first five strokes of the second measure are identical to the first five strokes of the standard pattern.
1094:(consisting of three pulses each), with a remainder of a partial cross-beat (spanning two pulses). In other words, 8 Ă· 3 = 2, r2. Tresillo is a cross-rhythmic fragment. It contains the first three cross-beats of the four-over-three cross-rhythm.
1829:
1418:
1406:
309:
2200:"We find that all its melodic design is constructed on a rhythmic pattern of two measures, as though both were only one, the first is antecedent, strong, and the second is consequent, weak" Grenet, Emilio, translated by R. Phillips (1939).
1237:) represents the correct count and ground of the bell pattern. The four dotted quarter-notes across the two bottom measures are the main beats. All key patterns are built upon four main beats. The bottom measures on the other two examples (
115:
Bantu migrations: 1 = 2000â1500 BC origin; 2 = ca.1500 BC first migrations; 2.a = Eastern Bantu; 2.b = Western Bantu; 3 = 1000â500 BC Urewe nucleus of
Eastern Bantu; 4â7 = southward advance; 9 = 500 BCâ0 Congo nucleus; 10 = 0â1000 AD last
190:. Kubik further states that key patterns represent the structural core of a musical piece, something like a condensed and extremely concentrated expression of the motional possibilities open to the participants (musicians and dancers).
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of durational values." Kubik concurs: "Although on the level of structural analysis it cannot be denied that different 'distances' of strokes, combining two or three elementary pulses, are 'added up' within the
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grounding in its dance-based rhythms may not convey the choreographic supplement. Not surprisingly, many misinterpretations of
African rhythm and meter stem from a failure to observe the danceâAgawu (2003).
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Kubik observes that "at the broadest level," the various key patterns "are all interrelated." Key patterns exist in their own right, as well as in relation to the three inner reference levels of elementary
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Throughout Africa, wherever these gongs have occurred they have been manufactured by the same process of welding the two halves together along a wide flange. This indicates a common origin.
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the axatse part begins (first "pa") on the second stroke of the bell (1a), and the last "pa" coincides with 1. By ending at the beginning of the cycle, the axatse part contributes to the
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bell patterns based on "slow" cycles of three beats across four or eight main beats. The three-beat cycle is represented as half-notes in the following example for visual emphasis.
151:' languages are spoken, with offshoots into the Lower Zambezi valley and the Nyasa/Ruvuma area in southeast Africa" . Use of the patterns has since spread throughout the greater
761:
rhythm kadodo. The three single strokes are muted. The kadodo bell pattern is an embellishment of three "slow" cross-beats spanning two measures, or three-over-eight (3:8).
2187:"The time span of the bell rhythm and its division into beats establish meter, a concept that implies a musical period" Locke, David "Improvisation in West African Musics"
1506:. Notice that the first five strokes are identical to the first five strokes of the standard pattern. Like the kadodo bell, this pattern is an embellishment of the 3:8, or
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is often interpreted as an additive rhythm because of the irregular grouping of its strokes: 3+3+2. However, tresillo is generated through cross-rhythm: 8 pulses Ă· 3 = 2
2123:
Gerhard Kubik cited by Agawu, Kofi (2006: 1-46). âStructural Analysis or Cultural Analysis? Comparing Perspectives on the âStandard Patternâ of West African Rhythmâ
1391:. Note that the standard bell pattern is the clave but with and pickups before the first and third notes, and the hi-hat marks the main beats (quarter-notes).
741:
Three cross-beats across two main beat cycles (two measures). This is the cross-rhythmic ratio of 3:8, or within the context of a single measure, 1.5:4. (
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1795:
and his Afro-Cubans was the first band to employ the triumvirate of congas, bongos and timbales, the standard battery of percussion used in contemporary
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There are many different triple-pulse bell patterns found in sub-Saharan Africa. These are but a small sample. Bell patterns 1 and 2 are considered by
131:
notes that key patterns are not universally found in sub-Saharan Africa: "Their geographical distribution mainly covers those parts of Africa where
3559:
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212:. They typically consist of 12 or 16 pulses, and have a bipartite structure, which evenly divides the pattern into two rhythmically opposed
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correctly identified the importance of this key pattern, but he mistook its accents as indicators of meter rather than the counter-metric (
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1992:
2080:, v. 55, pp. 20-23 Feb. For more on early iron-working and the Bantu migrations see: Newman, James, L. (1995: 107-109, 140-149.)
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1799:. In the montuno section the bongo bell and the timbale bell parts are sounded simultaneously in a contrapuntal interplay.
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Standard bell pattern (top) with accompanying axatse part (bottom). The axatse begins on the second stroke (in parentheses)
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In the Yoruba-based, Afro-Cuban rhythms agbe (toque gĂŒiro) and bembĂ©, standard pattern variations are used spontaneously.
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contradictive, and extraordinarily dynamic cross-rhythms found in African music. Within the context of a single four-beat
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1806:" developed the technique of simultaneously playing timbale and bongo bell parts when he held the timbales chair in the
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bell parts. During the mambo era of the 1940s, bongo players began regularly using a large hand-held cowbell during the
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Afro-Brazilian music uses a variety of bell patterns, many of which are different than the patterns used in Cuba.
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and on the heads of the timbales. The slashed noteheads are muted tones and the regular noteheads are open tones.
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in written music. The baqueteo consists of the son clave strokes, plus four additional strokes. Not technically a
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The bell pattern is also played in a displaced position, beginning on 4a, the pulse immediately preceding beat 1.
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Use of African bell patterns is found primarily within the NigerâCongo language family (yellow and yellow-green).
1040:. However, perhaps because of their seemingly asymmetric structure, bell patterns are sometimes perceived in an
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is 1.5:4. The three cross-beats, spanning 24 pulses, are represented as whole-notes below for visual emphasis.
2191:, Vol. 66, No. 5, (Jan., 1980), p. 125-133. Published by: MENC: The National Association for Music Education.
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132:
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2369:
Ancient Traditions Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India
1739:
The rhythmic basis for one of the most enduring Latin jazz tunes comes from a cĂĄscara variant adopted as a
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In divisive form, the strokes of tresillo contradict the beats. In additive form, the strokes of tresillo
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Patterns 3 and 4 are timbale bell parts that were introduced in mambo big bands. During the early 1940s
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express the rhythmâs organizing principle, defining rhythmic structure, as scales or tonal modes define
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140:
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The five-stroke "cinquillo" (Cuban term) is a common single-celled variant (two additional strokes).
85:
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2522:. Shown in common time and then in cut time with tied sixteenth & eighth note rather than rest.
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1142:, he did not correctly identify its metric structure. King represented the pattern in a polymetric
1138:) phenomena they actually are. Similarly, while Anthony King identified this five-stroke figure as
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and can be thought of as pattern 1 embellished with four additional strokes. Bell 3 is used in
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1988:
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This bell pattern, an embellishment of the three-beat cycle, is used in the Afro-Cuban rhythm
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960:
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1060:, thus only quarter and dotted-quarter notes rather than only eighth notes and eighth rests.
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The "tresillo" (Cuban term) is the most basic single-celled figure in duple-pulse structure.
321:
The most commonly used key pattern in sub-Saharan Africa is the seven-stroke figure known in
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bell patterns have spread worldwide due to the global success of Cuban-based popular music.
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beaded gourd instrument) part which typically accompanies the 12-pulse standard pattern in
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401:) structure. Many North American percussionists refer to the triple-pulse form as the
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Different ways to count the five-stroke bell pattern, the first of which is correct
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introduced this development. Later, multiple cowbells, a cymbal and the occasional
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Thesis: The 3:2 Relationship as the Foundation of Timelines in West African Musics
1972:
Thesis: The 3:2 Relationship as the Foundation of Timelines in West African Musics
1943:
bell and can be thought of as pattern 1 embellished with four additional strokes.
1920:
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Walton, James (1955: 22) 1955 âIron Gongs from the Congo and Southern Rhodesiaâ
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King, Anthony (1960). âThe Employment of the Standard Pattern in Yoruba Musicâ
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Classification and Phylogenetic Analysis of African Ternary Rhythm Timelines
1803:
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904:
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419:. The standard pattern has strokes on: 1, 1a, 2& 2a, 3&, 4, 4a.
229:
120:
51:
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3015:
1658:
1572:
1473:
1433:
2262:
The 3:2 Relationship as the Foundation of Timelines in West African Musics
1845:
1821:
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Pattern 1 is son clave, usually played on wooden claves. Pattern 2 is the
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2984:
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1940:
1936:
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97:
93:
92:. In band music, bell patterns are also played on the metal shell of the
81:
77:
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The bell pattern, and every aspect of the overall rhythm, is considered
163:. The spread of the African bell patterns is probably similarly linked.
3246:
2512:
Struggling to Define a Nation: American Music and the Twentieth Century
2290:. The International Society of the Arts, Mathematics, and Architecture.
2138:
The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins
2067:
Kubik, Gerhard (2010: 57). Theory of African Music v. 2. Chicago Press.
1985:
The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins
1924:
1814:. The example below shows the combined bell patterns (written in a 2-3
1792:
1701:
679:
669:
637:
195:
30:
2004:
Gerstin, Julian (2013) "Rhythmic Structures in the African Continuum"
198:. . . Put simply, key patterns epitomize the complete rhythmic matrix.
3066:
1759:. The rhythm of the melody in the A section is identical to a common
653:
649:
100:
89:
43:
2577:, p.22. Sameer Singh, Maneesha Singh, Chid Apte, Petra Perner, eds.
1004:
737:
628:. Kubik states that east of the Niger, Pattern 3 is used "among the
54:
family, to make it emit a sound at desired intervals. It is often a
2101:
A.M. Jones (1959: v. 1: 211). Cited by Kubik, Gerhard (2010: 60).
1281:
2725:
Representing African Music: Postcolonial Notes, Queries, Positions
2647:
Representing African Music: Postcolonial Notes, Queries, Positions
2019:
Representing African Music: Postcolonial Notes, Queries, Positions
1859:
1844:
1820:
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section in son groups. This bongo bell role was introduced in the
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In some rhythms the bell just plays repeating cycles of offbeats.
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is linked to the early iron-making technology spread by the great
119:
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29:
1755:
in 1947, is the first jazz standards to be rhythmically based on
27:
Rhythmic pattern of striking a hand-held bell or other instrument
2938:
2878:
2862:
1676:
In the 1940s the cowbell was added to the timbales in the first
657:
47:
2835:
2543:. Shown with tied sixteenth & eighth note rather than rest.
768:
kadodo bell pattern built upon the 3:8 or 1.5:4 cross-rhythm.
525:
See: standard bell with accompanying axatse part. Atsiagbekor.
2403:
Music in West Africa; Experiencing Music, Expressing Culture
2078:
Royal Anthropological Institute of Great Britain and Ireland
2821:(Dizzy Gillespie). Phantom Sound & Vision CD (c. 1948).
1140:
the âstandard patternâ in its simplest and most basic form
1974:, UnlockingClave.com. Urbana, IL: University of Illinois.
2831:
2431:, (Ladzekpo brothers). Makossa phonorecord 86011 (1982).
1056:
in additive form, with the notes sustained between each
3110:
3081:
3057:
1692:
were added to the timbale setup. Patterns 3 and 4 are
3013:
2999:
2533:
Cuba and Its Music: From the First Drums to the Mambo
2255:
2253:
1825:
Two interlocking cowbells, the "Changuito Special."
1195:
Because this triple-pulse pattern is generated from
3551:
3359:
3219:
3133:
2967:
2869:
2082:
The Peopling of Africa, A Geographic Interpretation
1491:afrekete, the part begins in the second measure of
1476:. It consists of three sets of three strokes each.
931:. Patterns 3 and 5 are used in the Ghanaian rhythm
900:standard pattern) is played on the head of a small
757:The following 24-pulse bell pattern is used in the
216:of 6 or 8 pulses each. The key pattern defines the
155:language family. The use of iron bells (gongs) in
76:), in most cases it is a metal bell, such as an
2050:. Jackson, MS: University Press of Mississippi.
1365:Triple-pulse rumba clave written as triplets in
672:. It is also used in the Cuban-Congolese rhythm
491:e & a || X . . X . . X X . . X . X . . X ||
1269:
192:
165:
706:bell patterns based on "slow" cycles of three
3153:
2847:
2125:Journal of the American Musicological Society
1712:. Pattern 5 is the basic bongo bell pattern.
1109:Tresillo written in additive form: 3 + 3 + 2.
8:
3306:
2751:PercisiĂłn Folklorico PercusiĂłn mayor y menor
2481:Drum Gahu: An Introduction to African Rhythm
2042:
2040:
714:. Three-over-eight (3:8) is one of the most
333:The standard pattern is expressed in both a
2714:v. 2. Chicago: University of Chicago Press.
2363:
2361:
2178:v. 2. Chicago: University of Chicago Press.
676:. The figure is sometimes referred to as a
2854:
2840:
2832:
1179:Anthony King's polymetric representation (
915:of Nigeria. Pattern 3 is the bell part in
664:. Pattern 4 is a bell pattern used by the
2259:Novotney, Eugene D. (1998: 155). Thesis:
2165:.com. Urbana, IL: University of Illinois.
1101:Tresillo written in divisive form: 8 Ă· 3.
88:, or a hollowed piece of wood, or wooden
2084:. New Haven, CT: Yale University Press.
937:. Patterns 2 and 3 are known in Cuba as
1963:
1927:rhythms. Pattern 1 is known in Cuba as
1719:Cuban bongo bell pattern, with 2-3 son
1669:pattern, the baqueteo is played on the
232:array of attack-points contradicts the
2682:Salsa Guidebook for Piano and Ensemble
2353:Songs and Tales from the Dark Continen
2309:Alan Dworsky and Betsy Sansby (2001).
1029:Divisive rhythm versus additive rhythm
911:. Pattern 2 is used by the Yoruba and
455:& a || X . X . X X . X . X . X ||
3566:Glockenmuseum Stiftskirche Herrenberg
2276:. Urbana, IL: University of Illinois.
1787:Timbale bell and bongo bell interplay
7:
3560:Dove's Guide for Church Bell Ringers
2684:. Petaluma, California: Sher Music.
2483:Tempa, Arizona: Whitecliff Media Co.
2442:Yoruba Drums from Benin, West Africa
2405:. New York: Oxford University Press.
2006:Analytical Approaches to World Music
2575:Pattern Recognition and Data Mining
208:Key patterns are generated through
2785:AnthogoĂa de la mĂșsica afro-cubana
2468:Traditional Dance Rhythms of Ghana
2457:. Van Nuys, CA: Alfred Publishing.
25:
3631:Percussion performance techniques
2629:p. xxx. Redway, CA: Bembe Books.
2510:Garrett, Charles Hiroshi (2008).
2416:Analytical Studies in World Music
1802:In the 1970s José Luis Quintana "
1402:Standard bell pattern variations
251:Standard pattern in duple-pulse (
2455:West African Rhythms for Drumset
2418:p. 102. Oxford University Press.
1970:Novotney, Eugene N. (1998: 165)
646:Democratic Republic of the Congo
46:pattern of striking a hand-held
1468:three-against-four cross-rhythm
1285:Cuban-style mountable cowbells.
656:." The pattern is also used in
2764:Afro-Cuban Rhythms for Drumset
2660:Yoruba Sacred Music from Ekiti
2470:v. 1. Everett, PA: Honey Rock.
2444:. Smithsonain CD 04294 (1980).
2245:American Music Society Journal
2174:Kubik, Gerhard (2010: 62-63).
1864:Afro-Brazilian bell patterns.
1442:Three-beat cycle bell patterns
1127:Counter-meter versus polymeter
687:Three-beat cycle bell patterns
523:nature of the overall rhythm.
1:
3592:Freedom Bell, American Legion
3168:Russian Orthodox bell ringing
34:Ghanaian iron gankoqui bells.
3571:Liberty Bell Memorial Museum
3297:Bells of Notre-Dame de Paris
2573:Toussaint, Godfried (2005).
2453:Hartigan, Royal (1995: 63).
2414:Tenzer, Michael ed. (2006).
2351:Curtis, Natalie (1920: 98).
2222:Jones, A.M. (1959: 210-213)
2157:Novotney, Eugene D. (1998).
2136:Peñalosa, David (2009: 51).
1983:Peñalosa, David (2012: 255)
1696:cĂĄscara patterns adopted as
1661:and the first expression of
1486:AbakuĂĄ bell pattern variant.
1346:; "Haitiano" (Fon, Yoruba):
923:). Pattern 4 is used by the
3506:Saarlouiser GlockengieĂerei
3111:
3082:
3058:
3014:
3000:
2787:. Egrem CD boxed set 0011.
2710:Kubik, Gerhard (2010: 78).
2603:Kubik, Gerhard (2010: 58).
2401:Stone, Ruth M. (2005: 82).
2388:Kubik, Gerhard (2010: 82).
2030:Nketia, Kwabena (1961: 78)
954:Single-celled bell patterns
50:or other instrument of the
3652:
3431:Pieter and François Hemony
2798:The city of musical memory
2662:. Ibadan University Press.
2466:Kofi, Francis (1997: 42).
2367:Montfort, Matthew (1987).
2311:Hip Grooves for Hand Drums
2114:Kubik, Gerhard (2010: 60).
2046:Kubik, Gerhard (1999: 54)
1915:Bell pattern 1 is used in
1770:Top: opening measures of "
1657:, the key pattern used in
1034:Sub-Saharan African rhythm
710:across four or eight main
203:David Peñalosa, (2009: 51)
3267:Ivan the Great Bell Tower
2658:King, Anthony (1961:14).
2355:t. New York: Dover Press.
2332:Studies in African Music.
2140:. Redway, CA: Bembe Inc.
1987:. Redway, CA: Bembe Inc.
1774:" melody. Bottom: common
1222:The example on the left (
821:) African bell patterns (
632:, and the large group of
567:) African bell patterns (
172:James Walton, (1955: 22)
157:sub-Saharan African music
107:Sub-Saharan African music
3501:John and William Rufford
3257:Great Bell of Dhammazedi
2723:Agawu, Kofi (2003: 73).
2645:Agawu, Kofi (2003: 87).
2625:Peñalosa, David (2010).
2429:Ritual Music of the Yeve
2330:Jones, A.M. (1959: 212)
2224:Studies in African Music
1348:vodĂș-radĂĄ, yanvalĂș, nagĂł
2712:Theory of African Music
2605:Theory of African Music
2552:London, Justin (2012).
2390:Theory of African Music
2213:Peñalosa (2009: 65-67).
2189:Music Educators Journal
2176:Theory of African Music
2103:Theory of African Music
2017:Agawu, Kofi (2003: 73)
1686:Arcaño y sus Maravillas
927:(Ghana) for the rhythm
691:There is a category of
3581:National Bell Festival
3411:Gillett & Johnston
3307:
3242:Bell of King Seongdeok
3227:List of heaviest bells
3204:Bolognese bell ringing
3154:
2904:Bell tower / Campanile
2747:Percussion Afro-Cubana
2745:Coburg, Adrian (2004)
2531:Sublette, Ned (2007),
2032:African Music in Ghana
2021:. New York: Routledge.
1912:
1854:
1837:
1783:
1736:
1650:
1532:
1487:
1469:
1438:
1426:
1392:
1286:
1274:
1219:
1192:
1117:
1110:
1102:
1072:
1020:
1001:
982:
882:
780:
754:
730:), the cross-rhythmic
636:speakers from eastern
616:
507:
499:
318:
206:
175:
125:
117:
35:
3586:Ringing organizations
3209:Veronese bell ringing
2701:Peñalosa (2009: 1-3).
2671:Novotney (1998: 250).
2594:Novotney (1998: 158).
2286:Toussaint, Godfried.
2204:New York: Bourne Inc.
1863:
1848:
1824:
1769:
1718:
1590:Afro-Cuban patterns.
1575:
1531:afrekete bell pattern
1530:
1485:
1467:
1436:
1401:
1364:
1284:
1205:
1178:
1112:
1108:
1100:
1052:The example above is
1051:
1007:
988:
969:
805:
767:
740:
551:
505:
497:
250:
145:BenueâCongo languages
123:
114:
74:asymmetrical timeline
33:
3476:GlockengieĂerei Otto
3441:Franciscus Illenfeld
2796:Waxer, Lise (2002).
2762:Thress, Dan (1994).
2727:New York: Routledge.
2680:MauleĂłn (1993: 47).
2649:New York: Routledge.
2607:v. 2. Chicago Press.
2501:Peñalosa (2009: 55).
2492:Hartigan (1995: 29).
2479:Locke, David (1998)
2392:v. 2. Chicago Press.
2105:v. 2. Chicago Press.
2048:Africa and the Blues
1931:. Bell 2 is used in
1841:Afro-Brazilian music
278:) and triple-pulse (
224:, and the second is
220:; the first cell is
3576:Liberty Bell Museum
3486:Petit & Fritsen
3272:Japanese Peace Bell
3182:Full circle ringing
3163:Ellacombe apparatus
2783:"Toque de gĂŒiros,"
2300:Peñalosa (2009: 55)
2202:Popular Cuban Music
1939:. Pattern 4 is the
1554:A variety of Cuban
1550:Cuban bell patterns
1307:; LucumĂ (Yoruba):
1058:interonset interval
644:, down to southern
3626:Bells (percussion)
3621:Musical techniques
3436:Christopher Hodson
2753:Bern, Switzerland.
2274:UnlockingClave.com
2268:2012-03-05 at the
2034:. Accra: Longmans.
1913:
1855:
1838:
1784:
1778:bell pattern (2-3
1737:
1651:
1533:
1488:
1470:
1446:There are several
1439:
1437:ararĂĄ bell pattern
1427:
1393:
1287:
1220:
1193:
1111:
1103:
1073:
1021:
1002:
983:
883:
781:
755:
617:
508:
500:
319:
311:Play both together
239:of the two cells.
196:harmonic structure
126:
118:
36:
3608:
3607:
3339:World Peace Bells
3237:Bell of Good Luck
2736:Walton (1955: 60)
2616:Agawu (2003: 94).
1747:," co-written by
1710:Arsenio RodrĂguez
1042:additive rhythmic
182:, main reference
66:phrasing referent
60:(also known as a
16:(Redirected from
3643:
3519:
3377:
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2226:. 1978 edition:
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1290:Standard pattern
1277:Afro-Cuban music
1266:
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1236:
1235:
1234:
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1172:time signature.
1171:
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1024:Metric structure
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327:standard pattern
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243:Standard pattern
204:
173:
161:Bantu migrations
143:' of the I.A.5 (
21:
18:Standard pattern
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3644:
3642:
3641:
3640:
3611:
3610:
3609:
3604:
3547:
3513:
3401:Kashpir Ganusov
3396:Royal Eijsbouts
3371:
3361:
3355:
3351:Yongle Big Bell
3232:Balangiga bells
3215:
3129:
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2871:
2870:Background and
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2554:Hearing in Time
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2270:Wayback Machine
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1749:Dizzy Gillespie
1743:bell pattern. "
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1152:
1147:
1146:
1145:
1144:
1143:
1129:
1065:
1063:
1062:
1061:
1038:divisive rhythm
1031:
1026:
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1010:
1009:
994:
992:
991:
990:
975:
973:
972:
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492:
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323:ethnomusicology
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288:
283:
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245:
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202:
174:
171:
109:
28:
23:
22:
15:
12:
11:
5:
3649:
3647:
3639:
3638:
3636:African rhythm
3633:
3628:
3623:
3613:
3612:
3606:
3605:
3603:
3602:
3595:
3588:
3583:
3578:
3573:
3568:
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3546:
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3530:
3525:
3520:
3508:
3503:
3498:
3493:
3491:Richard Phelps
3488:
3483:
3478:
3473:
3468:
3463:
3458:
3453:
3448:
3443:
3438:
3433:
3428:
3423:
3418:
3413:
3408:
3403:
3398:
3393:
3388:
3386:Andrey Chokhov
3383:
3378:
3365:
3363:
3360:Bell founders
3357:
3356:
3354:
3353:
3348:
3347:
3346:
3336:
3331:
3323:
3318:
3316:Sigismund Bell
3313:
3304:
3299:
3294:
3289:
3287:Maria Gloriosa
3284:
3279:
3274:
3269:
3264:
3259:
3254:
3249:
3244:
3239:
3234:
3229:
3223:
3221:
3217:
3216:
3214:
3213:
3212:
3211:
3206:
3201:
3200:
3199:
3197:Method ringing
3194:
3187:Change ringing
3179:
3178:
3177:
3176:
3175:
3165:
3160:
3151:
3146:
3137:
3135:
3134:Ringing styles
3131:
3130:
3128:
3127:
3122:
3117:
3108:
3103:
3098:
3093:
3088:
3079:
3074:
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2954:Striking clock
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2828:External links
2826:
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2344:
2334:1978 edition:
2323:
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2249:
2236:
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2206:
2193:
2180:
2167:
2163:UnlockingClave
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2094:
2069:
2060:
2036:
2023:
2010:
1997:
1976:
1962:
1960:
1957:
1956:
1955:
1953:Change ringing
1948:
1945:
1842:
1839:
1788:
1785:
1763:bell pattern.
1581:
1560:
1551:
1541:
1534:
1497:
1452:
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1440:
1371:
1317:
1291:
1288:
1278:
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1228:
1163:
1148:
1136:cross-rhythmic
1128:
1125:
1030:
1027:
1025:
1022:
955:
952:
950:respectively.
891:
812:
799:
789:
782:
728:musical period
697:
558:
552:Triple-pulse (
545:
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528:
475:
464:
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218:musical period
200:
186:, and primary
169:
141:western stream
108:
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24:
14:
13:
10:
9:
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4:
3:
2:
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3599:All the Bells
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3543:Geert van Wou
3541:
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3464:
3462:
3459:
3457:
3454:
3452:
3449:
3447:
3444:
3442:
3439:
3437:
3434:
3432:
3429:
3427:
3424:
3422:
3419:
3417:
3414:
3412:
3409:
3407:
3404:
3402:
3399:
3397:
3394:
3392:
3389:
3387:
3384:
3382:
3381:Bilbie family
3379:
3375:
3370:
3367:
3366:
3364:
3362:and foundries
3358:
3352:
3349:
3345:
3342:
3341:
3340:
3337:
3335:
3332:
3330:
3328:
3324:
3322:
3319:
3317:
3314:
3311:
3310:
3305:
3303:
3300:
3298:
3295:
3293:
3290:
3288:
3285:
3283:
3280:
3278:
3275:
3273:
3270:
3268:
3265:
3263:
3260:
3258:
3255:
3253:
3250:
3248:
3245:
3243:
3240:
3238:
3235:
3233:
3230:
3228:
3225:
3224:
3222:
3220:Notable bells
3218:
3210:
3207:
3205:
3202:
3198:
3195:
3193:
3190:
3189:
3188:
3185:
3184:
3183:
3180:
3174:
3171:
3170:
3169:
3166:
3164:
3161:
3158:
3157:
3152:
3150:
3147:
3145:
3142:
3141:
3139:
3138:
3136:
3132:
3126:
3125:Tubular bells
3123:
3121:
3120:Tintinnabulum
3118:
3115:
3114:
3109:
3107:
3106:Standing bell
3104:
3102:
3099:
3097:
3094:
3092:
3089:
3086:
3085:
3080:
3078:
3075:
3073:
3070:
3068:
3065:
3062:
3061:
3056:
3054:
3051:
3049:
3046:
3044:
3041:
3039:
3036:
3034:
3031:
3029:
3026:
3024:
3021:
3018:
3017:
3012:
3010:
3007:
3004:
3003:
2998:
2996:
2993:
2991:
2988:
2986:
2983:
2981:
2978:
2976:
2973:
2972:
2970:
2966:
2960:
2957:
2955:
2952:
2950:
2947:
2945:
2944:Ring of bells
2942:
2940:
2937:
2934:
2930:
2927:
2925:
2922:
2920:
2917:
2915:
2912:
2910:
2907:
2905:
2902:
2900:
2897:
2895:
2892:
2890:
2887:
2885:
2882:
2880:
2877:
2876:
2874:
2868:
2864:
2857:
2852:
2850:
2845:
2843:
2838:
2837:
2834:
2827:
2820:
2814:
2811:
2807:
2806:0-8195-6442-7
2803:
2799:
2793:
2790:
2786:
2780:
2777:
2773:
2772:0-89724-574-1
2769:
2765:
2759:
2756:
2752:
2748:
2742:
2739:
2733:
2730:
2726:
2720:
2717:
2713:
2707:
2704:
2698:
2695:
2691:
2690:0-9614701-9-4
2687:
2683:
2677:
2674:
2668:
2665:
2661:
2655:
2652:
2648:
2642:
2639:
2636:
2635:1-4537-1313-1
2632:
2628:
2622:
2619:
2613:
2610:
2606:
2600:
2597:
2591:
2588:
2584:
2583:9783540287575
2580:
2576:
2570:
2567:
2563:
2562:9780199744374
2559:
2555:
2549:
2546:
2542:
2541:9781556526329
2538:
2534:
2528:
2525:
2521:
2520:9780520254862
2517:
2513:
2507:
2504:
2498:
2495:
2489:
2486:
2482:
2476:
2473:
2469:
2463:
2460:
2456:
2450:
2447:
2443:
2437:
2434:
2430:
2424:
2421:
2417:
2411:
2408:
2404:
2398:
2395:
2391:
2385:
2382:
2378:
2377:0-937879-00-2
2374:
2370:
2364:
2362:
2358:
2354:
2348:
2345:
2341:
2340:0-19-713512-9
2337:
2333:
2327:
2324:
2320:
2319:0-9638801-5-2
2316:
2312:
2306:
2303:
2297:
2294:
2289:
2282:
2279:
2275:
2271:
2267:
2264:
2263:
2256:
2254:
2250:
2246:
2240:
2237:
2233:
2232:0-19-713512-9
2229:
2225:
2219:
2216:
2210:
2207:
2203:
2197:
2194:
2190:
2184:
2181:
2177:
2171:
2168:
2164:
2160:
2154:
2151:
2147:
2146:1-886502-80-3
2143:
2139:
2133:
2130:
2126:
2120:
2117:
2111:
2108:
2104:
2098:
2095:
2091:
2090:0-300-07280-5
2087:
2083:
2079:
2073:
2070:
2064:
2061:
2057:
2056:1-57806-145-8
2053:
2049:
2043:
2041:
2037:
2033:
2027:
2024:
2020:
2014:
2011:
2007:
2001:
1998:
1994:
1993:1-886502-80-3
1990:
1986:
1980:
1977:
1973:
1967:
1964:
1958:
1954:
1951:
1950:
1946:
1944:
1942:
1938:
1934:
1930:
1926:
1922:
1918:
1908:
1896:
1884:
1872:
1862:
1858:
1852:
1847:
1840:
1833:
1823:
1819:
1817:
1813:
1809:
1805:
1800:
1798:
1794:
1786:
1781:
1777:
1773:
1768:
1764:
1762:
1758:
1754:
1750:
1746:
1742:
1731:
1722:
1717:
1713:
1711:
1707:
1703:
1699:
1695:
1691:
1687:
1683:
1679:
1678:danzĂłn-mambos
1674:
1672:
1668:
1664:
1660:
1656:
1646:
1634:
1622:
1610:
1598:
1584:
1574:
1570:
1563:
1544:
1535:
1529:
1525:
1523:
1500:
1484:
1480:
1477:
1475:
1466:
1462:
1455:
1441:
1435:
1431:
1422:
1410:
1400:
1396:
1387:
1374:
1363:
1359:
1357:
1353:
1349:
1345:
1341:
1337:
1333:
1329:
1320:
1310:
1306:
1302:
1298:
1289:
1283:
1276:
1273:
1268:
1261:
1246:
1231:
1214:
1204:
1200:
1198:
1187:
1177:
1173:
1166:
1157: +
1151:
1141:
1137:
1133:
1126:
1124:
1122:
1116:
1107:
1099:
1095:
1093:
1089:
1085:
1083:
1078:
1068:
1059:
1055:
1050:
1046:
1043:
1039:
1035:
1028:
1023:
1016:
1006:
997:
987:
978:
968:
964:
962:
953:
951:
949:
948:
944:
940:
936:
935:
930:
926:
922:
918:
914:
910:
906:
903:
894:
877:
865:
853:
841:
829:
815:
806:Duple-pulse (
804:
798:bell patterns
792:
783:
776:
766:
762:
760:
749:
739:
735:
733:
729:
725:
721:
717:
713:
709:
700:
689:
688:
684:
682:
681:
675:
671:
667:
663:
659:
655:
652:and northern
651:
647:
643:
639:
635:
631:
627:
622:
611:
599:
587:
575:
561:
550:
544:bell patterns
538:
529:
527:
526:
522:
517:
513:
504:
496:
490:
486:
482:
478:
474:
467:
454:
450:
446:
442:
438:
431:
420:
418:
411:
395:
380:
370:
361:
346:
336:
332:
328:
324:
313:
301:
287:
274:
260:
249:
242:
240:
238:
235:
231:
227:
223:
219:
215:
211:
199:
197:
191:
189:
185:
181:
168:
164:
162:
158:
154:
150:
146:
142:
138:
137:Kwa languages
134:
130:
129:Gerhard Kubik
122:
113:
106:
104:
102:
99:
95:
91:
87:
83:
79:
75:
71:
67:
63:
62:guide pattern
59:
58:
53:
49:
45:
41:
32:
19:
3597:
3590:
3558:
3406:Vanden Gheyn
3326:
3309:Petersglocke
3302:Olympic Bell
3282:Liberty Bell
3277:Justice Bell
3252:Freedom Bell
3192:Call changes
3101:Servant bell
3009:Bicycle bell
2899:Bell pattern
2898:
2889:Bellfounding
2818:
2813:
2797:
2792:
2784:
2779:
2763:
2758:
2750:
2746:
2741:
2732:
2724:
2719:
2711:
2706:
2697:
2681:
2676:
2667:
2659:
2654:
2646:
2641:
2627:Rumba Quinto
2626:
2621:
2612:
2604:
2599:
2590:
2574:
2569:
2553:
2548:
2532:
2527:
2511:
2506:
2497:
2488:
2480:
2475:
2467:
2462:
2454:
2449:
2441:
2436:
2428:
2423:
2415:
2410:
2402:
2397:
2389:
2384:
2368:
2352:
2347:
2331:
2326:
2310:
2305:
2296:
2287:
2281:
2273:
2261:
2244:
2239:
2223:
2218:
2209:
2201:
2196:
2188:
2183:
2175:
2170:
2162:
2158:
2153:
2137:
2132:
2127:v. 59, n. 1.
2124:
2119:
2110:
2102:
2097:
2081:
2077:
2072:
2063:
2047:
2031:
2026:
2018:
2013:
2005:
2000:
1984:
1979:
1971:
1966:
1928:
1914:
1856:
1801:
1790:
1738:
1706:son conjunto
1684:orchestras.
1677:
1675:
1666:
1654:
1652:
1582:
1561:
1553:
1542:
1522:cross-rhythm
1498:
1489:
1478:
1471:
1453:
1445:
1428:
1394:
1372:
1355:
1347:
1343:
1339:
1331:
1318:
1308:
1304:
1300:
1293:
1270:
1259:
1244:
1229:
1221:
1197:cross-rhythm
1194:
1164:
1149:
1139:
1130:
1120:
1118:
1113:
1086:
1074:
1032:
957:
945:
942:
938:
932:
928:
916:
892:
884:
813:
790:
756:
698:
690:
686:
685:
677:
666:Hausa people
618:
559:
536:
510:The axatse (
509:
488:
484:
480:
476:
465:
457:
452:
448:
444:
440:
429:
421:
409:
402:
393:
378:
359:
344:
335:triple-pulse
330:
326:
320:
285:
258:
230:asymmetrical
210:cross-rhythm
207:
193:
176:
166:
127:
73:
69:
65:
61:
56:
40:bell pattern
39:
37:
3538:Whitechapel
3514: [
3471:Olsen Nauen
3466:John Murphy
3421:Miles Graye
3372: [
3327:Temple Bell
3292:Mingun Bell
3096:Ship's bell
3077:Jingle bell
3043:Crotal bell
3033:Church bell
2949:Strike tone
2929:Campanology
2914:Bell shrine
2909:Bell-ringer
2872:terminology
2371:, p.16-17.
1818:sequence).
1812:Los Van Van
1420:Play bottom
1123:the beats.
1092:cross-beats
939:rumba clave
913:Igbo people
885:Pattern 1 (
708:cross-beats
678:horizontal
634:Benue-Congo
626:Niger River
621:A. M. Jones
369:duple-pulse
153:NigerâCongo
139:) and the '
57:key pattern
3615:Categories
3528:Hugh Watts
3321:Swan Bells
2980:Altar bell
2894:Bell-gable
2817:"Manteca"
2427:"Kadodo,"
1849:Brazilian
1753:Chano Pozo
1132:A.M. Jones
716:metrically
648:, eastern
487:e & a
483:e & a
479:e & a
226:consequent
222:antecedent
3511:Schilling
3451:Marinelli
3416:Grassmayr
3369:Bergholtz
3334:Tsar Bell
3262:Great Tom
3173:Blagovest
3091:Mini-ring
3048:Dead bell
3023:Call bell
3002:Bianzhong
2995:Bell tree
2959:Zvonnitsa
2800:, p.239.
2556:, p.155.
2535:, p.134.
1929:son clave
1921:Candomblé
1919:and some
1804:Changuito
1694:guaguancĂł
1690:woodblock
1334:; ArarĂĄ (
925:Ga people
905:bata drum
516:Ewe music
180:pulsation
52:idiophone
3344:Kentucky
3329:(Boston)
3144:Carillon
3140:Chiming
3072:Handbell
3053:Doorbell
3028:Cat bell
2990:Babendil
2985:Aluphone
2884:Bell-cot
2514:, p.54.
2440:"Ogogo"
2313:, p.77.
2266:Archived
1947:See also
1941:maracatu
1937:batucada
1917:maculelĂȘ
1682:charanga
1655:baqueteo
1408:Play top
1356:columbia
1088:Tresillo
1077:divisive
961:tresillo
934:kpanlogo
722:(single
642:Cameroon
512:Ghanaian
451:& a
447:& a
443:& a
367:) and a
293:) form (
237:symmetry
234:metrical
201:â
170:â
98:drum kit
94:timbales
82:gankoqui
70:timeline
44:rhythmic
3552:Related
3496:Rudhall
3481:Paccard
3461:Meneely
3456:McShane
3446:Juutila
3247:Big Ben
3156:CanpanĂČ
3038:Cowbell
2924:Bourdon
2819:Manteca
2766:, p.9.
2161:, Web.
1959:Sources
1925:Macumba
1793:Machito
1772:Manteca
1745:Manteca
1723:above.
1702:montuno
1680:of the
1515:⁄
1326:form),
1305:triallo
1054:notated
724:measure
680:hemiola
670:Nigeria
638:Nigeria
325:as the
147:), or '
101:cymbals
86:cowbell
3533:Warner
3523:Taylor
3391:Cockey
3067:Ghanta
3060:DĆtaku
3016:BonshĆ
2919:Belfry
2804:
2770:
2749:v. I,
2688:
2633:
2581:
2560:
2539:
2518:
2375:
2338:
2317:
2230:
2144:
2088:
2054:
1991:
1870:Play 1
1659:danzĂłn
1596:Play 1
1474:abakuĂĄ
1350:; the
1344:egbado
1340:sabalĂș
917:fufume
902:Yoruba
827:Play 1
654:Zambia
650:Angola
573:Play 1
521:cyclic
506:Axatse
331:bembé.
305:, and
228:. The
96:, and
90:claves
3518:]
3426:Hatch
3376:]
3149:Chime
2975:AgogĂŽ
2968:Types
2933:index
2863:Bells
1933:afoxĂȘ
1853:bell.
1851:agogo
1816:clave
1810:band
1808:songo
1797:salsa
1780:clave
1776:mambo
1761:mambo
1757:clave
1741:mambo
1721:clave
1698:mambo
1671:gĂŒiro
1663:clave
1354:form
1352:rumba
1328:bembé
1309:iyesĂĄ
1297:Bantu
1082:cycle
947:clave
921:Ghana
909:Benin
732:ratio
720:cycle
712:beats
662:Haiti
329:, or
214:cells
188:cycle
149:Bantu
133:I.A.4
116:phase
84:, or
78:agogĂŽ
72:, or
42:is a
3113:Suzu
3084:Kane
2939:Peal
2879:Bell
2802:ISBN
2768:ISBN
2686:ISBN
2631:ISBN
2579:ISBN
2558:ISBN
2537:ISBN
2516:ISBN
2373:ISBN
2336:ISBN
2315:ISBN
2228:ISBN
2142:ISBN
2086:ISBN
2052:ISBN
1989:ISBN
1923:and
1831:Play
1751:and
1729:Play
1667:bell
1414:and
1385:Play
1332:agbe
1301:palo
1252:and
1212:Play
1185:Play
1066:Play
1014:Play
995:Play
976:Play
941:and
929:gahu
774:Play
747:Play
674:palo
660:and
658:Cuba
630:Igbo
417:bell
299:Play
272:Play
184:beat
48:bell
1708:of
1520::4
1338:):
1336:Fon
1299:):
1121:are
1036:is
943:son
907:in
759:Ewe
726:or
668:of
458:In
422:In
386:or
352:or
266:) (
3617::
3516:de
3374:sv
2360:^
2272:,
2252:^
2039:^
1900:,
1888:,
1876:,
1782:).
1638:,
1626:,
1614:,
1602:,
1524:.
1358:.
1342:,
1330:,
1303:,
1191:).
963:.
869:,
857:,
845:,
833:,
683:.
603:,
591:,
579:,
473::
437::
103:.
80:,
68:,
64:,
38:A
2935:)
2931:(
2855:e
2848:t
2841:v
2808:.
2774:.
2692:.
2585:.
2564:.
2379:.
2342:.
2321:.
2247:.
2234:.
2148:.
2092:.
2058:.
2008:.
1995:.
1906:4
1894:3
1882:2
1735:.
1644:5
1632:4
1620:3
1608:2
1583:4
1562:4
1543:4
1517:2
1513:1
1510:+
1508:1
1499:8
1454:8
1373:4
1319:8
1311:(
1295:(
1260:4
1245:2
1230:8
1218:.
1165:8
1150:8
919:(
893:4
881:)
875:5
863:4
851:3
839:2
814:4
791:4
753:)
699:8
615:)
609:4
597:3
585:2
560:8
537:8
489:4
485:3
481:2
477:1
466:4
453:4
449:3
445:2
441:1
430:8
410:8
394:2
379:4
371:(
360:8
345:8
337:(
317:.
286:8
259:4
135:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
