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Percussive Notes
The journal of the Percussive Arts Society Vol. 50, No. 4 July 2012
KzaIt on 'HIstoIze du 8oIdat
Deagan and the 0naIon
The Indooz PezcussIon
Contzovezsy
A--etIc
Rhythn nathenatIcs
and pattezn IoznatIon
usIng tabIa
syIIabIe ceIIs
by ]ezzy Leake
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A-rhythm-etic
By ]erry Leake
Rhythm mathematica and pattern
formation uaing ahort, medium and Iong
tabIa ayIIabIe ceIIa
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T
hia atudy offera a gIimpae into the power of the North
Indian tabIa drum Ianguage and the fundamentaI
mathematica the Ianguage compriaea, preaented
here aa a unique yet univeraaI method caIIed
'a-rhythm-etic.' The concept ia aimpIe but with
great poaaibiIitiea. Rhythm ceIIa in thia method are rendered
with apoken ayIIabIea that are atrung together to form potent
muaicaI ahapea and metric atructurea that are appIicabIe to any
inatrument and in any atyIe of muaic. Uaing baaic tabIa ayIIabIea
(caIIed boIs), you wiII diacover new and eaaentiaI entry pointa
into rhythm invention, whiIe apeaking ayIIabIea cIearIy and with
infIection wiII enhance the muaicaIity of your practice.
Above aII, the goaI of pIaying muaic ia to aIwaya remain
reIaxedto achieve 'effortIeaa maatery' for 'getting around'
on your inatrument, aa you weave muaicaI aound inaide of
time. The a-rhythm-etic method ia deaigned to heIp you make
better rhythm choicea and to gain confidence with apontaneity
whiIe remaining reIaxed and in controI. Even when phraaea are
rendered incorrectIy during your practice, the act of 'fixing'
the pattern aa you repeat it requirea Iiving in the moment and
being apontaneoua.
Nothing worthwhiIe can be achieved without 'doing the
work' to get to the heart of the approach. Aa you foIIow thia
diacuaaion you enter into a commitmenta promiae to be
patient in trying aomething new to gain freah perapectivea and
reauIta. InitiaIIy, we wiII expIore rhythm ceIIa uaing onIy the
voice and a ateady beat. Deeper IeveIa of integration and action
wiII be introduced aa we progreaa. But moving on to the next
and more chaIIenging atage requirea you to 'graduate' from
your aucceaaive IeveIa. Do not be fooIed by the deaire to get to
the end aa quickIy aa poaaibIe.
Aa you progreaa there wiII be diacuaaiona that aIow thinga
down ao you can digeat materiaI, and the 'nutrienta' of the
concept can fIow through your veina, not juat in your head. If
you foIIow the carefuIIy pIanned aequencea of the a-rhythm-etic
proceaa, your mind, body, and apirit can work compIementariIy.
There ia nothing worae than 'brain aweat' when Iearning and
pIaying muaic; the mind, body, and apirit ahouId ideaIIy work
in an integrative faahion, ao one ahouId truat the non-thinking
parta of the proceaa.
RHYTHM CELL8
Figure 1 ahowa three categoriea of rhythm ceIIa: A (ahort),
B (medium), and C (Iong). 8tudy theae ceIIa for a whiIe before
moving to their anaIyaia. FamiIiarize youraeIf with the concept
of ayIIabIea compriaing rhythm. The number foIIowing each
Ietter (A1, C3) deacribea how many 'dha' atrokea are to be
pIayed in each ceII.
8peakIng the BoIs CIeazIy
When pIayed on the tabIa druma, dha ia an accented open
(auataining) tone rendered aimuItaneouaIy on both high and Iow
druma, whereaa tra kta are non-auataining atrokea that function
aa a aofter roIIing-Iike figure between accented dha atrokea.
Dha containa the Ietter 'h,' which encouragea one to apeak the
deep voice/tongue of the Iow baaa drum caIIed 'bayan.' In the
beginning it may be difficuIt to find the 'proper' tone for dha
ayIIabIea. But patience (and practice) wiII Iead to aucceaa.
TabIa boIs (ayIIabIea) were inapired by the aounda of
nature, created to mimic the aound of the druma. BoIs are an
onomatopoetic repreaentation of drum aound; they do not have
any cuIturaI Iinguiatic meaning. They are Iettera of a rhythm
Fgure 1. 7hree Categores o/ Rhythm CeIIs
The audio exampIea from the articIe are performed in three atagea: (1) each phraae ia apoken whiIe maintaining the
beat with a foot ahaker, (2) the phraae ia then pIayed on tabIa with the foot ahaker, and (3) it ia pIayed on tabIa whiIe
aimuItaneouaIy apeaking the phraae with the beat.
A sezIes: (ahort ceIIa: 'tira kita')
A1 A2 A3
dha - tIza kIta dha - dha - tIza kIta dha - dha - dha - tIza kIta
B sezIes: (medium ceIIa: 'tira kita taka')
B1 B2 B3
dha - tIza kIta taka dha - dha - tIza kIta taka dha - dha - dha - tIza kIta taka
C sezIes: (Iong ceIIa: 'tira kita taka tira kita')
C1 C2 C3
dha - tIza kIta taka tIza kIta dha - dha - tIza kIta taka tIza kIta dha - dha - dha - tIza kIta taka tIza kIta
Visit http://www.pas.org/publications/July2012webextras.aspx to
hear audio les and see videos.
Web Extras
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aIphabet that form aentencea of organized aound pIaced in a
time matrix. The tabIa Ianguage ia vaat; however, our focua wiII
be on the aimpIe combinationa diacuaaed in thia guide.
The aofter roIIing pattern 'tira kita' movea rapidIy in
aixteenth-note formationa. To faciIitate rapid recitation, pIace
the tip of your tongue at the top of the mouth and move onIy
the tongue without moving the Iipa. If you apeak the phraae
phoneticaIIy you wouId moat IikeIy aay: TI RAH KI TAH. However,
there ia no atrong 'R' aound in the phraae. You wouId need to
aay the 'R' in a roIIing faahion, aa if the Ietter 'D' repIaced
the 'R.' By not moving the Iipa aa you recite, you may find the
doorway into proper pronunciation.
8hozthand NotatIon
In Figure 2, the entire A, B, C aeriea now appeara in a
'ahorthand' form to aimpIify notation and faciIitate quicker
pIayer reaponae.
Of courae, ceIIa can be expanded into much Iarger ahapea
uaing 4, 5, 6 or more dha atrokea, or by Iengthening tra kta roIIa
even further. Theae three A, B, C categoriea repreaent a good
beginning whiIe providing a muItitude of pattern poaaibiIitiea.
DuzatIon oI Each CeII
Now it ia time to examine the duration of each ceII when aet
to a ateady beat. Weatern notation (Figure 3) providea a famiIiar
Iink between tabIa ayIIabIea and eighth and aixteenth notea.
The number in parentheaia refera to the number of beata of a
given ceII (e.g., A1 ia 1.5 beata in Iength, A2 ia 2 beata, A3 ia
2.5 beata). Repeat each ceII whiIe cIapping or tapping a ateady
beat.
A "Non-MetzIc" PezspectIve
In the Figure 3 exampIea, there ia no aaaociation of 'meter'
with each ceII, nor are there any reata incIuded with any of
the 'fractionaI ceIIa' (2.5, 3.5) to compIete an unfiniahed
beat. Our initiaI purpoae ia to atring apoken ceIIa together
without pauae in order to underatand each ahape vocaIIy for
(eventuaIIy) pIaying phraaea in a 'metered' muaicaI context.
Proficiency with theae nine ceIIa wiII reauIt in the freedom to
pIay any combination in a pureIy improviaationaI aetting, or for
compoaing. Conaider thia 'non-metric' approach to rhythm aa
'fIow without meaaure.'
Fgure 8. Rhythmc CeIIs n Western Notaton
'FIow WIthout Measuze": CeII ExezcIses to the
"Beat"
FoIIowing are exerciaea that driII recited ceIIa in a 'fIow
without meaaure' context. Notice the muaicaIity of each ahape
aa you repeat a aeriea. A ateady 'beat' ia eaaentiaI to feeI and
hear how fractionaI ceIIa 'fIip' to the offbeat. For exampIe, A1
recited four timea reauIta in an 'on-beat/off-beat' combination:
on, off, on, off. In fact, 'beat fIipping' occura with aII fractionaI
ceIIa: A1, A3, B2, C2.
In the ceII formatting of Figure 4, 'A1' identifiea the ceII,
whiIe the '/4' indicatea the number of timea a ceII ia to be
pIayed before moving on. The number in parentheaia (1.5)
indicatea the Iength of each aingIe ceII (previouaIy diacuaaed).
Again, beat awareneaa ia eaaentiaI; metric awareneaa doea
not (yet) appIy. When beginning theae Ieaaona, a metronome
without accenta ia needed for checking your akiII with ceIIa that
fIip to the offbeat.
8ezIes 8uccessIon
Variationa can be derived by pIaying each ceII in a aeriea
once, then moving on to the next ceII of the aame aeriea. In the
format ahown in Figure 5, you wiII aee A (13)/4 (6). Aa before,
the 'A' identifiea the 'tira kita' aeriea, (13) meana 'pIay each
ceII (A1, A2, A3) once.' The '/4' meana 'pIay the entire aeriea
four timea,' and the number in parentheaia (6) indicatea the
Iength of each atrung-together aeriea: A (13) 6 beata. Notice
that B (13) and C (13) add up to odd numbera, reauIting in a
fractionaI phraae that wiII fIip from onbeat to offbeat and back
again. The B and C aeriea wiII chaIIenge your beat awareneaa,
eapeciaIIy when pIaying to a metronome. IncIuded beIow ia the
ahorthand notation of each phraae you repeat.
Fgure 2. Shorthand Notaton
dha D (capitaI D repreaenta the 'accent' of the atroke and
the duration of two eighth notea)
tIza kIta tzkt tIza kIta taka tzkttk tIza kIta taka tIza
kIta tzkttktzkt (aixteentha)
A1 A2 A3
D tzkt D D tzkt D D D tzkt
B1 B2 B3
D tzkttk D D tzkttk D D D tzkttk
C1 C2 C3
D tzkttktzkt D D tzkttktzkt D D D tzkttktzkt
Fgure 4. CeII xercses to the Beat"
A1/4 (1.5) A2/4 (2) A3/4 (2.5)
B1/4 (2) B2/4 (2.5) B3/4 (3)
C1/4 (3) C2/4 (3.5) C3/4 (4)
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8ezIes ConbInatIons
A dramatic and chaIIenging aeriea reauIta by combining A, B,
and C uaing one dha (1), two dha (2), and three dha (3) atrokea,
aa aeen in Figure 6.
A BzIdge to CaznatIc Rhythn
The amazing rhythm ayatem of 8outh Indian (Carnatic) muaic
ia baaed, in Iarge part, on atringing together drum (mrdangam)
patterna of varying Iengtha to compIete a muaicaI phraae in
any apeed and in any rhythm cycIe. Theae powerfuI akiIIa were
part of the inapiration for the a-rhythm-etic concept. A-rhythm-
etic functiona aa a bridge to the Carnatic ayatem; it ia a meana
for tranaIating and tranaferring ayIIabIea to aounda on any
inatrument (diacuaaed Iater). The next atep ia to aurrender
the inteIIect and the 'knowing' of a ceII'a duration to aIIow for
unencumbered 'fIow without meaaure'; that ia, eatabIiahing
an aaaembIy Iine of rhythm in the apontaneity and need of the
moment.
At thia point recite your own combination of A, B, C ceIIa with
randomneaa, apontaneity, and apark. Take chancea to make your
attempta aparkIe. Be confident even with what you might caII
'miatakea.' Let your practice be your meditationthe reIaxed
centraI core of the phyaicaI and mentaI; and Iet your meditation
be your practiceaIwaya hearing muaic and rhythm throughout
your day.
ORID OF TIME
Aa we work beyond the 'exerciae' and 'diacovery' atage of
a-rhythm-etic ceIIa we muat organize patterna in uaefuI waya to
aupport the muaic. Compound metera are buiIt uaing amaIIer
groupinga (aubunita) that combine to form the whoIe of a given
meter. For exampIe, the 10-beat tabIa cycIe ']haptaI' ia divided
2+3+2+3. AII tabIa cycIea are buiIt uaing amaIIer aubunita.
In the 'Grid of Time' that foIIowa (Figure 7), we wiII conatruct
phraaea (and eventuaIIy metera) uaing three unique Ietter
ceIIa. Working acroaa the page in rowa we aee that A (13)
6 beata, B (13) 7.5 beata, C (13) 10.5 beata. Working
down the grid in coIumna we aee that A1+B1+C1 6.5 beata,
A2+B2+C2 8 beata, A3+B3+C3 9.5 beata. Theae patterna are
aIao ahown with the Seres Successon and Seres Combnaton
exampIea previouaIy examined. UnIimited phraaea can be buiIt
by repeating Ietter combinationa in any faahion; for exampIe:
Fgure 7. Crd o/ 7me
Fgure 6. Seres Combnatons
A1, B1, C1/4 (6.5) D tzkt D tzkttk D tzkttktzkt (6.5 beata)
A2, B2, C2/4 (8) D D tzkt D D tzkttk D D trkttktrkt (8 beata)
A3, B3, C3/4 (9.5) D D D tzkt D D D tzkttk D D D tzkttktzkt (9.5)
A1+A1+A2 5 beata. If you have to conatruct an 11.5-beat
phraae (or metric atructure), the grid ia a uaefuI pIace to begin.
Azzows oI 8
The moat prevaIent meter ia 4/4 (aIao known aa 'common
time'). There are many potent three-ceII combinationa that
totaI 8 beata, aa we wiII diacover in the 'Arrowa of 8' (Figure
8). 8tudy the grid before continuing on to the anaIyaia. (Note:
yin & yang headinga wiII be diacuaaed Iater, when two-Ietter
combinationa are expIored.)
The arrowa in the Figure 7 grid define combinationa of
A, B, C ceIIa that totaI 8 beata. Within any rotation of 'arrow'
ceIIa the number of beata (8) remaina the aame; however, dha
accenta ahift Iocationa, creating a 'theme and variation' quaIity
that ia found in many tabIa aoIo forma: kada, reIa, eshkar.
In the exampIea on the previoua page you can viauaIIy 'aee'
where dha accenta appear in a given phraae, eapeciaIIy when
compared to other rotationa of the aame aeriea. Recite each
exampIe at Ieaat four timea (with a metronome or beat tapping)
before moving on.
Fgure 6. Seres Successon
A (1-3)/4 (6) D tzkt D D tzkt D D D tzkt (6 beata)
B (1-3)/4 (7.5) D tzkttk D D tzkttk D D D tzkttk (7.5 beata)
C (1-3)/4 (10.5) D tzkttktzkt D D tzkttktzkt D D D tzkttktzkt (10.5 beata)
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Numeroua other 8-beat combinationa are poaaibIe uaing
three Iettera that are not repreaented in the arrowa. Contact
]erry Leake at Rhombua@comcaat.net for the entire 50-page
a-rhythm-etic document.
MATH AND CO0NTINO THEORY
The Abacus oI TIne In IndIan MusIc
In both North (Hndustan) and 8outh (Carnatc) Indian muaic,
time can be meaaured uaing aeveraI uaefuI methoda: cIap and
wave geaturea (caIIed krya) that deIineate groupinga (bara)
of beata, or individuaI beata that are caIIed matras. The matra
method of counting in the north (known aa 'keeping taI') ia
an eaaentiaI tooI for caIcuIating the Iength of phraaea, and for
determining where and how fractionaI phraaea fIip off and back
onto the beat.
CaIcuIationa are accompIiahed by uaing juat the right hand,
with the thumb aerving aa the counting device (Figure 9,
right photo), and the notchea in the finger jointa aerving aa
beat Iocationa (Figure 9, Ieft photo). In thia manner, the hand
functiona aa a 'time abacua' that aIIowa one to caIcuIate any
compoaition'a Iength from a few beata to 100 or more. It aIao
functiona aa a 'time compaaa' that aIIowa muaiciana to navigate
through any Iength of rhythm cycIe and at any apeed. For now
we are concerned with (1) keeping the beat of a given phraae,
(2) caIcuIating the Iength of the phraae and, (3) determining if
and where a phraae fIipa to the offbeat.
Figure 9 ia a acan of my right hand indicating the pIacement
of each matra (beat). Notice how 16 beata fit comfortabIy onto
the hand, aa if it were deaigned aII aIong to compriae the cIaaaic
four-bar phraae in 4/4, each finger aerving aa one bar of four
beata. Once you reach beat 16, atart again at 1 and continue
counting 17, 18, 19, aII the way to beat 32 to finiah a aecond paaa
of the hand. A whoIe-number phraae of 15 beata requirea you to
Iand on beat 15 then return to beat 1 to begin again. A fractionaI
number auch aa 2.5 (D D trkttk) requirea you to begin on beat
1 and recite the phraae twice (onbeat, then offbeat), eventuaIIy
reaching beat 5. After beat 5, return to beat 1. In other worda,
Iet the phraae determine when you return back to the 1 on the
hand.
Nunbez LocatIons
A queation that often ariaea ia, 'Why ia beat one Iocated at
the baae of the pinkie and not at the tip of the index finger?'
UnfortunateIy, there ia a Iimited amount of documented hiatory
regarding the evoIution of Indian muaic to anawer thia queation.
However I do have aome theoriea that may raiae further debate
by othera, for the good of the cauae. If number 1 were Iocated
at the tip of the index finger, where beat 16 ia Iocated, and beat
2 were where beat 15 ia, the remaining beata wouId be counted
in a downward faahion, moving from index finger to aecond
finger, third finger, and then pinkie. The aheer act of counting
'down the Iadder of time' ia contrary to the idea of a 'buiIding
up of time' that heightena muaicaI cIimax and excitement.
'Aacending the time Iadder' deepena the muaicaI pIot, raiaea
anticipation, and propeIa the engine of time forward, not
backward.
AIao, by atarting at the pinkie and working inward toward
the index finger, one geta a feeIing of time and muaic 'coming
toward the pIayer' and not away. With the right hand poaitioned
upright, the paIm facing to the Ieft and the back of the hand
on the right, time ia coming cIoaer to the heart of both the
muaician (IiteraIIy) and to the heart of the muaic (figurativeIy).
Muaic buiIda in anticipation aa time approachea the pIayer, and
reIaxea again when it returna to the baae of the pinkie for beat
one. Keeping taI ia one of the moat uaefuI tooIa the pIayer haa
for determining how phraaea fit into a given time matrix and,
moat importantIy, what can be done with theae phraaea in a
muaicaI context.
Fgure 0. 7he Abacus o/ 7me (Krya Method)
Fgure 8. Crd o/ 7me xercse xamIes
(Arrows o/ 8)

FIzst sezIes oI 8
A1, B2, C3 D tzkt D D tzkttk D D D tzkttktzkt (1.5 + 2.5 + 4)
A1, C3, B2 D tzkt D D D tzkttktzkt D D tzkttk (1.5 + 4 + 2.5)
B2, A1, C3 D D tzkttk D tzkt D D D tzkttktzkt (2.5 + 1.5 + 4)
B2, C3, A1 D D tzkttk D D D tzkttktzkt D tzkt (2.5 + 4 + 1.5)
C3, A1, B2 D D D tzkttktzkt D tzkt D D tzkttk (4 + 1.5 + 2.5)
C3, B2, A1 D D D tzkttktzkt D D tzkttk D tzkt (4 + 2.5 + 1.5)
8econd sezIes oI 8
C1, B2, A3 D tzkttktzkt D D tzkttk D D D tzkt (3 + 2.5 + 2.5)
C1, A3, B2 D tzkttktzkt D D D tzkt D D tzkttk (3 + 2.5 + 2.5)
B2, C1, A3 D D tzkttk D tzkttktzkt D D D tzkt (2.5 + 3 + 2.5)
B2, A3, C1 D D tzkttk D D D tzkt D tzkttktzkt (2.5 + 2.5 + 3)
C1, A3, B2 D tzkttktzkt D D D tzkt D D tzkttk (3 + 2.5 + 2.5)
C1, B2, A3 D tzkttktzkt D D tzkttk D D D tzkt (3 + 2.5 + 1.5)
ThIzd sezIes oI 8
A2, B2, C2 D D tzkt D D tzkttk D D tzkttktzkt (2 + 2.5 + 3.5)
A2, C2, B2 D D tzkt D D tzkttktzkt D D tzkttk (2 + 3.5 + 2.5)
B2, A2, C2 D D tzkttk D D tzkt D D tzkttktzkt (2.5 + 2 + 3.5)
B2, C2, A2 D D tzkt D D tzkttktzkt D D tzkttk (2.5 + 3.5 + 2)
C2, A2, B2 D D tzkttktzkt D D tzkt D D tzkttk (3.5 + 2 + 2.5)
C2, B2, A2 D D tzkttktzkt D D tzkttk D D tzkt (3.5 + 2.5 + 2)
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YIN & YANO LETTER PAIR8
In the Grid of Time, each coIumn containa a heading of 'Yin+,
Yang, Yin-.' Thia cIaaaification refera to the order of Ietter paira
that are whoIe or fractionaI numbera. Yin+ (poaitive) containa
one dha atroke for each A, B, and C aeriea. Yin- (negative)
containa three dha atrokea per aeriea. If you add A1 (1.5 beata)
+ A3 (2.5 beata), you get a whoIe number of 4. 8imiIarIy, B1 +
B3 5 and C1 + C3 7. However, if you add a Yang ceII (middIe
coIumn) in a given aeriea to either Yin+ or Yin- of the aame
aeriea, you get a fractionaI number. Figure 10 ia a aummary of
theae pointa.
In the fractionaI numbera in Figure 10, notice that the totaI
for each aeriea growa by a aingIe digit (3.57.5), with 4.5
appearing in both the A and B aeriea. The muaicaIity of whoIe
and fractionaI Ietter paira can be enhanced by creating atranda
of a given aeriea, repeating each Ietter ceII, and inverting ceII
order in the aecond haIf (beIow). When repeating each pair of
Iettera in an inverted order (1, 2 becoming 2, 1), what reauIta
ia a whoIe number. Refer to the ceII aummary in Figure 11 for
caIcuIation and reference.
In the A, B, C combinationa ahown in Figure 11, whoIe
numbera aIao increaae by a factor of one digit, with a 9-beat
phraae appearing at the end of the A aeriea and at the
Fgure 10. Yn and Yang Rhythmc CeIIs
WhoIe numbera: yin(+) + yin(-)
A1 + A3 4
B1 + B3 5
C1 + C3 7
FractionaI numbera: yin + yang
A1 + A2 3.5 A3 + A2 4.5
B1 + B2 4.5 B3 + B2 5.5
C1 +C2 6.5 C3 + C2 7.5
Fgure 11. CeII Summary
A1 = 1.5 A2 = 2 A3 = 3.5
B1 = 2 B2 = 2.5 B3 = 3
C1 = 3 C2 = 3.5 C3 = 4
A sezIes: A1 + A2 + A2 + A1 7
A1 + A3 + A3 + A1 8
A2 + A3 + A3 + A2 9
B sezIes: B1 + B2 + B2 + B1 9
B1 + B3 + B3 + B1 10
B2 + B3 + B3 + B2 11
C sezIes: C1 + C2 + C2 + C1 13
C1 + C3 + C3 + C1 14
C2 + C3 + C3 + C2 15
beginning of the B aeriea. IntereatingIy, there ia no 12-beat
aeriea in thia apecific modeI. However, aa footnoted in the Grid
of Time, when you add each individuaI A, B, C ceII together you
get 24 beata. Therefore, if you atart from A1 and pIay each ceII
once, you wiII reach 24 beata of muaic: A1+2+3 + B1+2+3 +
C1+2+3 24. You can pIay each ceII in any order you chooae,
perhapa in a aort of 'fIaah-card' manner darting from one Ietter
to the other without repeating any of them. Thia exerciae wiII
chaIIenge your proficiency, controI, and apontaneity.
8hown beIow ia a aummary of the 8tagea of DeveIopment that
have been taking pIace aa you expIore thia method.
8tages oI DeveIopnent
1. OzaspIng the 'ayIIabIea for rhythm' concept of tabIa
drumming that began thia atudy.
2. RecItIng ayIIabIea cIearIy to hear the ahape of 'dha' accenta
and aofter 'tira kita' roIIa.
3. TzansIatIng Iong ayIIabIe ceIIa to 'ahorthand' ceIIa to
faciIitate rapid reaponae (dha - tira kita D trkt).
4. 0ndezstandIng the entire ceII conatruct: A1/4 (1.5), and
other compound ceII aeta auch aa A1, B2, C3/4 (8).
5. PzactIcIng repeatedIy to compIete the connection between
doing rhythm exerciaea and creating uaefuI muaicaI patterna.
6. CountIng beata with the Abacua of Time whiIe reciting ceIIa
and returning to beat 1 aa needed.
7. VIsuaIIzIng in your mind'a eye (aeeing time) whoIe and
fractionaI ceIIa (with Weatern notation aerving aa a temorary
Iinking guide to ayIIabIea).
8 RendezIng phraaea by aeeing onIy Ietter and number ceIIa:
A1, B2, B3/4 (7).
B0ILDINO METRIC 8TR0CT0RE8
Now it ia time to buiId apecific metera for pIacing rhythm
ceIIa into muaicaI contexta. Any of the ceII combinationa we
have previouaIy examined (6.5, 9, etc.) couId form the baaia of a
metric atructure upon which to buiId a compoaition. Beginning
with a aummary of rhythm ceIIa we can aee that beat totaIa
of 2, 2.5, and 3 appear in two Ietter ceIIa, but that no number
compriaea aII three A, B, C ceIIa. You can aIao viauaIize the atair-
atepping of beata aa they increaae. Refer to the tabIe in Figure
12 aa we expIore metric ahapea.
Fgure 12. Metrc Shaes
beata: 1.5 2 2.5 3 3.5 4
ceIIa: A1 A2 A3 - - -
- B1 B2 B3 - -
- - - C1 C2 C3
A1 (1.5) A2 (2) A3 (2.5)
D tzkt D D tzkt D D D tzkt
B1 (2) B2 (2.5) B3 (3)
D tzkttk D D tzkttk D D D tzkttk
C1 (3) C2 (3.5) C3 (4)
D tzkttktzkt D D tzkttktzkt D D D tzkttktzkt
PLRCu33lvL N01L3 10 1uL 2012
Metezs In 5
8hown in Figurea 13 and 14 beIow are exerciaea for buiIding
5-beat and 7-beat metric atructurea. Aa we progreaa into other
metera, not aII rotationa wiII be provided; there are aimpIy too
many to Iiat. Contact ]erry Leake at Rombua@comcaat.net for
ceIIa in 6, 9, 11, 13, etc.
Fgure 18. Meters n 6
Metezs In 5
A1, C2 D tzkt D D tzkttktzkt (1.5+3.5) C2, A1 D D tzkttktzkt D tzkt (3.5+1.5)
A2, B3 D D tzkt D D D tzkttk (2+3) B3, A2 D D D tzkttk D D tzkt (3+2)
A2, C1 D D tzkt D tzkttktzkt (2+3) C1, A2 D tzkttktzkt D D tzkt (3+2)
A3, B2 D D D tzkt D D tzkttk (2.5+2.5) B2, A3 D D tzkttk D D D tzkt (2.5+2.5)
B1, B3 D tzkttk D D D tzkttk (2+3) B3, B1 D D D tzkttk D tzkttk (3+2)
B1, C1 D tzkttk D tzkttktzkt (2+3) C1, B1 D tzkttktzkt D tzkttk (3+2)
B3, A2 D D D tzkttk D D tzkt (3+2) A2, B3 D D tzkt D D D tzkttk (2+3)
B3, B1 D D D tzkttk D tzkttk (3+2) B1, B3 D tzkttk D D D tzkttk (2+3)
RepeatIng CeIIs
A1, A1, A2 D tzkt D tzkt D D tzkt (1.5+1.5+2)
A1, A2, A1 D tzkt D D tzkt D tzkt (1.5+2+1.5)
A2, A1, A1 D D tzkt D tzkt D tzkt (2+1.5+1.5)
A1, A1, B1 D tzkt D tzkt D tzkttk (1.5+1.5+2)
A1, B1, A1 D tzkt D tzkttk D tzkt (1.5+2+1.5)
B1, A1, A1 D tzkttk D tzkt D tzkt (2+1.5+1.5)
CONCL08ION
Muaic ia difficuIt to pIay at the higheat IeveI; we are gIad that
it ia difficuIt, otherwiae no one wouId be gifted. But pIaying
(and Iearning) muaic ahouId aIao be fun and engaging. It ia
the aapect of 'fun' that ia rapidIy dwindIing from the Iearning
proceaa. Many atudenta are atreaaed out by their acheduIea,
PLRCu33lvL N01L3 11 1uL 2012
Fgure 14. Meters n 7
Metezs In 7 (4 of 11 aeta ahown; contact ]erry Leake
for more.)
set 1
A1, A2, C2 D tzkt D D tzkt D D tzkttktzkt (1.5+2+3.5)
A1, C2, A2 D tzkt D D tzkttktzkt D D tzkt (1.5+2+3.5)
A2, C2, A1 D D tzkt D D tzkttktzkt D tzkt (2+3.5+1.5)
A2, A1, C2 D D tzkt D tzkt D D tzkttktzkt (2+1.5+3.5)
C2, A1, A2 D D tzkttktzkt D tzkt D D tzkt (3.5+1.5+2)
C2, A2, A1 D D tzkttktzkt D D tzkt D tzkt (3.5+2+1.5)
set 2
A1, A3, B3 D tzkt D D D tzkt D D D tzkttk (1.5+2.5+3)
A1, B3, A3 D tzkt D D D tzkttk D D D tzkt (1.5+3+2.5)
A3, B3, A1 D tzkt D D D tzkttk D D D tzkt (1.5+3+2.5)
A3, A1, B3 D D D tzkt D tzkt D D D tzkttk (2.5+1.5+3)
B3, A1, A3 D D D tzkttk D tzkt D D D tzkt (3+1.5+2.5)
B3, A3, A1 D D D tzkttk D D D tzkt D tzkt (3+2.5+1.5)
set 3
A1, A3, C1 D tzkt D D D tzkt D tzkttktzkt (1.5+2.5+3)
A1, C1, A1 D tzkt D tzkttktzkt D D D tzkt (1.5+3+2.5)
A3, C1, A1 D D D tzkt D tzkttktzkt D tzkt (2.5+3+1.5)
A3, A1, C1 D D D tzkt D tzkt D tzkttktzkt (2.5+1.5+3)
C1, A1, A3 D tzkttktzkt D tzkt D D D tzkt (3+1.5+2.5)
C1, A3, A1 D tzkttktzkt D D D tzkt D tzkt (3+2.5+1.5)
set 4
A1, B1, C2 D tzkt D tzkttk D D tzkttktzkt (1.5+2+3.5)
A1, C2, B1 D tzkt D D tzkttktzkt D tzkttk (1.5+3.5+2)
B1, C2, A1 D tzkttk D D tzkttktzkt D tzkt (2+3.5+1.5)
B1, A1, C2 D tzkttk D tzkt D D tzkttktzkt (2+1.5+3.5)
C2, A1, B1 D D tzkttktzkt D tzkt D tzkttk (3.5+1.5+2)
C2, B1, A1 D D tzkttktzkt D tzkttk D tzkt (3.5+2+1.5)
1abla lmprovisations
Urumset lmprovisations
Video ExampIea
The tabIa videoa demonatrate improviaationa on a ceII
atructure by mixing up tonaI poaaibiIitiea of the druma and
ahuffIing the ceII arrangement to create variationa. The drumaet
exampIea incorporate aimiIar ideaa for improviaing around the
druma for aoIo poaaibiIitiea, and for creating groovea buiIt ua-
ing accented 'dha' atrokea of the phraae.
chaIIenged on academic and performing atagea, and unabIe
to remember the 'fun' that they firat feIt upon hearing their
inatrument pIayed by the great artiata before them. Rather
than force 'determination' on the practice proceaa, feeI the
'devotion' that initiaIIy motivated you to pIay muaic.
'Devotion' removea the 'ego-driven' aapect of determination
and opena the heart to a more apirituaI reIationahip with
one'a aeIf, othera, and God. Muaic ia Iike reIigion: It bringa
ua one atep cIoaer to the aImighty creator. Devotion doea not
mean 'reIigion,' it meana 'Iove.' When you devote youraeIf to
aomeone, you Iove that peraon. You devote youraeIf to houra of
practice becauae you Iove the many aounda of your inatrument
and the feeIing you get whiIe pIaying, you Iove the aeIf-
diacovery that comea with each new reveIation that aurfacea aa
you break new ground in your atudiea. Devotion ia dedication,
IoyaIty, worahip, and reverence, aII to the aincere aervice of your
craft. 8uch a commitment to your art wiII heIp you to aIwaya
remember the Iove and the fun you derive aa a participant.
HopefuIIy, the a-rhythm-etic method haa been chaIIenging
and inaightfuI, whiIe aIao offering a 'fun' way to diacover
new rhythm poaaibiIitiea. AII muaiciana need to engage in
diacipIined and 'devoted' practice, but thia doea not mean that
we ahouId not enjoy the proceaa aIong the way.
Any uaefuI Iearning method providea the muaician with
new 'tooIa' for creating more intereating improviaationa and
PLRCu33lvL N01L3 12 1uL 2012
compoaitiona. Conaider a-rhythm-etic the Iateat addition to your
tooIbox of concepta and methoda. And by keeping aII of your
tooIa poIiahed and organized you wiII diacover the apontaneoua
poaaibiIitiea. Muaiciana can never have too many tooIa on-hand
to achieve new IeveIa of creativity.
]ezzy Leake ia an Aaaociate Profeaaor of Percuaaion at BerkIee
CoIIege of Muaic and the New EngIand Conaervatory. He Ieada
the worId-rock-fuaion octet Cubiat (cubiatband.com), which
performa compoaitiona from hia 2010 accIaimed Cubst CD. In
2011 he reIeaaed Cubst Lve with renowned BerkIee facuIty,
and Mobeus with jazz Iegend RakaIam Bob Moaea. ]erry ia co-
founder of the worId-muaic enaembIe Natraj, and performa with
CIub d'EIf, and the Agbekor 8ociety. ]erry haa written eight
wideIy uaed texta on North and 8outh Indian, Weat African, Latin
American percuaaion, and advanced rhythm theory (Rhom-
buapubIiahing.com). ]erry ia aIao former preaident of the Maa-
aachuaetta PA8 Chapter, and waa a preaenter of hia 'Harmonic
Time' concept at a 2011 TEDx 8eminar in Cambridge, Maaa. PN
Find the Rhythm!
at Indys Newest
Downtown Attraction
Explore the role of rhythm and
percussion in music and culture
through interactive and hands-on
educational experiences.
317.275.9030
110 W. Washington Street
Indianapolis, IN . 46204
www.RhythmDiscoveryCenter.org